In 2012, the Sony F65 grabbed attention with higher resolution than any previous digital motion picture camera. Plus extremely low noise, even in the blacks. Plus a wider color gamut than print film. Plus 16-bit linear RAW and 10-bit SR File recording. No wonder the F65 was quickly chosen for productions of every type. Now with Version 2.0, 2.2, and 3.0 refinements, the F65 does even more, including High Frame Rate RAW at up to 120p with no windowing. And 12-bit HD recording with 4:4:4 color.

The schedule and budgets of episodic TV impose unique production requirements. Under this time-is-money pressure, the F65 thrives. While some productions destined for 4K television choose F65RAW (described on the CINEMA tab), HD productions often go with Sony's compact, efficient SR File recording. It's based on the HDCAM-SR® format, the broadcast industry's de facto standard for mastering.

While all previous Sony cameras aimed at equaling 35mm film, the F65 was designed from the outset to exceed 35mm. Here's a combination of ultra sensitivity, extra-wide color gamut, supple grayscale rendition and extraordinary contrast that broadens the cinematographer's canvas. While some cinema productions choose SR File recording (described on the TELEVISION tab), most take advantage of F65RAW 16-bit linear recording. Not only does RAW retain the greatest latitude for manipulation in post; it's also practical and compatible with a broad range of dailies, transcode, editing, grading, DI and VFX tools.

You'd expect a camera with the performance of the F65 to capture amazing images. It's also helping cinematographers overcome some extraordinary production challenges and make their days. Listen to what the DPs have to say.

Robust upgrade path

F65 users include some of the most world's most demanding cinematographers. Many have shared with us their thoughts for improvements, enhancements and refinements. And we've incorporated many of their best ideas in a suite of upgrades to the F65 and associated Sony products. read more

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Robust upgrade path

F65 users include some of the most world's most demanding cinematographers. Many have shared with us their thoughts for improvements, enhancements and refinements. And we've incorporated many of their best ideas in a suite of upgrades to the F65 and associated Sony products.

Version 3.00 upgrade kit. Sony is pleased to announce that we are in final testing of the CBK-65EL V3.00 upgrade kit for the F65 digital cinema camera. We will be able to take service reservations beginning on July 15, 2013. This upgrade includes several new features including connectivity to the DVF-EL100 viewfinder, configuration of individual HD SDI outputs, 48 fps support and new Wi-Fi remote control improvements.

The installation of the CBK-65EL V3.00 upgrade kit requires the replacement of a circuit board, as well as firmware and software reprogramming for the camera, the SR-R4 SR Master recorder and the SRK-CP1 Control Panel. This procedure must be performed at a Sony Professional Service Depot. Please see below for information on how to schedule and appointment with our two service centers.

Compatibility with the DVF-EL100 OLED viewfinder.

  • The V3.00 upgrade adds an electrical connector for the DVF-EL100 viewfinder, while it retains the connector for the HDVF-C30W. After the upgrade, the F65 will be able to support both viewfinders.
  • The DVF-EL100 viewfinder, which is not included in the upgrade, offers the following features:
    • 10,000:1 Contrast Ratio
    • 1280 x 720 OLED array
    • Low, 1.8 W power consumption
  • The V3.00 upgrade supports the following DVF-EL100 functions:
    • Focus magnification button (x2->x4->cancel)
    • Assign button supports Magnification Position, Hi/Lo Key, Hi Clip Indicator and Peaking

Independent configuration of the HD SDI outputs

  • Look Profiles (3DLUT), Color Space, ACES RRT/ODT WGR5.1 and ASC-CDL 1.2 can be applied to the SDI1 output (aka "Production" Out)
  • 1DLUT, Color Space Choice, 2x and 4x Image Magnify, High/Low Key and False Color can be applied to the SDI2 output (aka "DP/AC" Out)
  • REC Trigger, RDD-18 Metadata, File Naming Metadata and Clip Based Metadata are embedded in the SDI stream to support outboard HD recording

48p system support

  • Time code lock between two SR-R4 recorders
  • 24p Genlock is available

New iPad® application (F65Remote Look Plus)

  • "F65Remote Look Plus" replaces "F65Remote"
  • Look Profiles, Color wheel, file list control and SDI1/SDI2 signal flow control are added

Customers should contact a regional Sony Professional Service facility to schedule the upgrade procedure as well as be informed of anticipated turnaround time. Loaner cameras are not available for this program.

Eastern Service Facility Teaneck Western Service Facility Los Angeles
Sony Service Center Sony Service Center
123 W. Tryon Avenue 2706 Media Center Dr., Ste. 130
Teaneck, New Jersey 07666 Los Angeles, California 90065
   
Voice: 201-833-5300 Voice: 323-352-5000
FAX: 323-352-5039 FAX: 323-352-5039
E-mail: TeaneckService@am.sony.com E-mail: LAService@am.sony.com

The shipping and insurance of the F65 camera system to the Sony Service facility is the responsibility of the customer. Sony Service will pay for the return shipping of the upgraded F65 at no charge using Fed Ex Standard delivery. Expedited shipment is available at additional cost.

SR-PC4 transfer station Version 2.0 firmware. Achieves transfer speeds of up to 3.2 Gbps (400 MB/s) using an optional 10GigE interface (requires a third-party PCIe card). This enables F65RAW-SQ transfer at up to 1.5x real time and F65RAW-Lite transfer at up to 2.5x real time. (Your mileage may vary. We have seen 400 MB/s with Linux, up to 320 MB/s with a MacBook Pro® computer and Thunderbolt™ chassis transferring F65RAW-SQ and F65RAW-Lite and 220 MB/s on the MacBook Pro system transferring SR-Lite.)

F65RAW Viewer 1.1. Sony has also refined our RAW Viewer software, which now includes the following features:

  • Audio File Export (BWF)
  • High-quality HD file export (DPX, OpenEXR)
  • Academy Color Encoding System (ACES) support with the ability to apply Reference Rendering Transform (RRT), Input Device

F65 Version 2.2 firmware. Introduced in November 2012, this free upgrade established an even higher level of functionality:

  • SDI record trigger protocols enabling simultaneous start and stop recording functions with third-party recorders.
  • Remote control camera "painting" with Sony RM-B Series camera remote controls.
  • Available RM-B Series paint functions include RGB White and Black painting, HyperGamma, Standard Gamma and Master Gain. These adjustments are captured in both F65RAW and SR File recordings.
  • Additional RM-B Series controls include Record Start/Stop, Iris control, ND Filter, Shutter, Color Bars, Test and Gamma Table
  • While Sony recommends RM-B Series remote controls, the F65 also supports Sony RCP and MSU remote control systems

F65 Version 2.0 firmware. Introduced in 2012, this free upgrade included the following capabilities:

  • F65RAW-HFR High Frame Rate mode with variable frame rate from 1 to 120 fps, 8K RAW recording with no windowing, no crop factor, no change in angle of view.
  • 12-bit option for SR-HQ 4:4:4 high definition recording. Together with S-Log 2 encoding, this delivers the quality you'd expect from competing 2K RAW systems, together with a much more efficient HD workflow.
  • 1 to 60 fps variable frame rates available in all HD formats with time code of 23.98, 24, 25 or 29.97 fps
  • Anamorphic 2:1 monitoring from the HD output
  • 1920 side crop on SDI output (RAW mode)
  • False color to indicate clipping in High Key mode (viewfinder and HD outputs)
  • Cooke /i system lens metadata embedded in recorded files
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20 Megapixel image sensor

The F65 is built around the unique capabilities of Sony's 20 megapixel Super 35 image sensor. Even in March 2013, more than one year after the launch, this is the highest resolution of any digital motion picture camera. In this way, the camera stands alone in its ability to reproduce scene detail and texture. Exterior wide shots have a monumentality that calls to mind 65mm film. It's an advantage you can exploit no matter what your delivery format: true 4K, supersampled 2K or supersampled HD. read more

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20 Megapixel image sensor

The F65 is built around the unique capabilities of Sony's 20 megapixel Super 35 image sensor. Even in March 2013, more than one year after the launch, this is the highest resolution of any digital motion picture camera. In this way, the camera stands alone in its ability to reproduce scene detail and texture. Exterior wide shots have a monumentality that calls to mind 65mm film. It's an advantage you can exploit no matter what your delivery format: true 4K, supersampled 2K or supersampled HD.


Directors of photography recognize that the F65 does a beautiful job capturing detail, fine and textures wide landscape shots.


The benefits of the 20 megapixel image sensor are apparent, no matter how you demosaic and deliver your project.

The F65 sensor has a unique design with photosites arrayed on 45-degree diagonals. We call the F65 "true 4K" because it is the world's first digital motion picture camera with a dedicated green photosensor for every pixel in the 4K raster. This is a huge advantage in luminance resolution. We also refer to the sensor's "8K grid" because the spacing between columns and rows is half that of the conventional 4K Bayer sensor, and the count of pixels on each horizontal zigzag is exactly 8K (8192).


Sony's F65 delivers "true 4K," with full horizontal, vertical and even diagonal resolution on the all-important Green channel, plus full V and H resolution on the Blue and Red channels.

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Anamorphic excellence

The F65 adheres to the 1.9:1 aspect ratio of the DCI projection standard (4096 x 2160). read more

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Anamorphic excellence

The F65 adheres to the 1.9:1 aspect ratio of the DCI projection standard (4096 x 2160). 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. Where other cameras become notably soft in anamorphic photography, Sony's 20 megapixel image sensor retains a vivid, detailed picture. The camera supports anamorphic 2:1 monitoring from the HD output, while Sony's latest Software Development Kit and RAW Viewer utility support anamorphic de-squeeze at 8192 x 2160 (aspect ratio 3.80:1).

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14 stops of 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 F65 excels with 14 stops of exposure latitude. read more

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14 stops of 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 F65 excels with 14 stops of exposure latitude.

"I am amazed at the range of the F65," says director of photography Steve Romano of his work on "Sticks and Stones," an indie short about bullying. "The color gamut and latitude are outstanding! When shooting inside a car, I was able to expose for the actors and keep all the detail in the car windows on an extremely bright day." Read the full interview.

Daryn Okada, ASC has used the F65 in network television series "Made in Jersey" and "Franklin & Bash." He says, "I never once had to baby the camera. I didn't ND one window for this whole show and it is not even lit that brightly." Read the full interview.


The F65 holds detail in the sunlit exterior, as well as the interior blacks in this still.

Sony even addressed the issue of how to preview 14 stops of latitude on viewfinders and monitors that can't yet handle 14 stops. A clever "Highlight/Lowlight" function enables you, at a press of a button, to check for blown highlights or underexposed dark areas. One simple check enables DPs to gauge their exposure and be confident in the look they are creating.

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High sensitivity, low noise

Base sensitivity is 800 EI. However the noise floor is very low, an achievement that has pleased cinematographers and delighted visual effects supervisors. So you can push sensitivity to 3200 EI. read more

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High sensitivity, low noise

Base sensitivity is 800 EI. However the noise floor is very low, an achievement that has pleased cinematographers and delighted visual effects supervisors. So you can push sensitivity to 3200 EI.

"With less than a foot-candle of illumination, my light meter wasn't able to read any exposure. Neither could my eye," says Michael Barrett, who shot the Screen Gems feature "No Good Deed" (working title) on with the F65. "But I looked at the monitor in the DIT tent and saw an amazing image that was much brighter than reality." Read the full interview.


This F65 frame capture shows just how clean the dark areas remain.


A copper interconnect layer and dual noise reduction enable the F65 image sensor to achieve a unique combination of high resolution and high sensitivity— together with low noise.

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Natural color: S-Gamut

Directors of photography and colorists are talking about the F65's S-Gamut color system. read more

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Natural color: S-Gamut

Directors of photography and colorists are talking about the F65's S-Gamut color system. Daryn Okada, ASC has used the F65 on the CBS series "Made in Jersey" and the TNT series "Franklin & Bash." He says, "There are no power windows or secondary color correction. It's just a straight primary ACES color grade. The camera has such a wide color gamut, I can mix lighting easily—tungsten with daylight coming in—and it all feels right. That's something I've only been able to do with film—until I started working with this camera." Read the full interview.

The secret to the S-Gamut system is an often overlooked but fundamental component of the large, single-sensor camera: the color filter array (CFA), which screens incoming light so that each photosensor can detect Red, Green or Blue. Sony's S-Gamut system uses uncommonly pure CFA dyes to achieve a range of color that's not only wider than other digital cameras. It's wider than motion picture print film.

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Taking control

The F65 is optimized for motion picture production. Compared to a broadcast camera, the menus are vastly simplified. In fact, a large display on the smart side of the camera concentrates on the essential camera settings, such as frame rate, exposure index, shutter angle and neutral density filter. All these settings are ready for immediate adjustment without menu-diving. read more

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Taking control

The F65 is optimized for motion picture production. Compared to a broadcast camera, the menus are vastly simplified. In fact, a large display on the smart side of the camera concentrates on the essential camera settings, such as frame rate, exposure index, shutter angle and neutral density filter. All these settings are ready for immediate adjustment without menu-diving.

"When shooting smaller projects with limited budgets, the F65 makes my life easy," says film veteran Steve Romano, who DP'd and operated on "Sticks and Stones," an indie short about bullying. "I was switching parameters such as frame rates, shutter and ISO myself with no downtime. The internal ND filters make changing exposure as simple as pressing a button. Using the high/low button was a great help with judging exposure."
Read the complete interview.


Clockwise from the top, the F65 main display shows frame rate, ND filter status, stops of highlight latitude available, viewing LUT, color temperature, Exposure Index and shutter angle.


Sony also enables comprehensive remote control. The SRK-CP1 control panel can operate the recorder.

  • SRK-CP1 control panel. This operates the docking SR-R4 recorder and mounts on the left, right or top of the camera. The cable also enables you to roll and stop the camera. For added flexibility, the panel's display works in portrait or landscape mode.


Control the F65 from a web browser on a Windows® or Mac® OS computer.

  • Web browser control. You can operate the F65 directly from your computer. Simply connect the camera to your network (or directly to your laptop) and open up the web page. When you do, you'll be able to take comprehensive control via simple drop-down menus for frame rate, shutter angle, color temperature, Exposure Index, ND filter setting and much more.

The F65 Remote app turns the camera into an extension of your tablet.

  • F65Remote app for iPad® tablets. Available free from the iTunes® site, this app provides a full set of menu screens, Slate, a Help function and a full PDF of the F65 Operation Manual. A clever Offline Mode enables you to explore all the menu settings even when you don't have access to the camera. The Panel Active function ensures that however many tablets are connected to the camera, only one has active control. (F65Remote operation requires the CBK-WA01 Wi-Fi® adaptor and CBK mounting bracket.)


Use your smartphone to calculate SRMemory recording times.

  • SRNavi app for iOS® and AndroidTM phones and tablets. As a nice extra, the free SRNavi app calculates available recording time for SRMemory cards according to your selected frame rate and recording format.
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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 and exposure correction. See everything the image sensor has to offer. F65RAW recording captures each color sample for each photosite on the image sensor without image processing. As a result, your look isn't baked in. It's a digital negative fully open to creative manipulation. In addition, Sony's 16-bit linear recording results in RGB output files with more than 4,000 times as many color gradations as 12-bit RAW and more than 260,000 as many gradations as 10-bit RAW. By design, 16-linear RAW preserves more tonal values than the human eye can differentiate.
  • S-Log 2 Gamma. Productions using 1920 x 1080 progressive 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. 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. Television productions on a budget may choose the Rec. 709 high definition color space.
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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 F65 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 F65 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 F65 is the ideal point of entry into the 16-bit linear ACES workflow.

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Choice of recording mode

While the F65 offers powerful 16-bit linear 8K recording, not every production is prepared to take advantage. That's why the camera offers a range of recording modes from 220 Mbps high definition to 2.0 Gbps 8K RAW. read more

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Choice of recording mode

While the F65 offers powerful 16-bit linear 8K recording, not every production is prepared to take advantage. That's why the camera offers a range of recording modes from 220 Mbps high definition to 2.0 Gbps 8K RAW. Renters of the F65 can choose the recording format and codec to match the needs of each project. Owners can start shooting HD and master the camera. As 4K production and distribution gain traction, you can apply those same skills to Ultra High-Definition TV and Digital Cinema 4K projects.


The F65 camera and docking SR-R4 recorder accommodate any project with bitrates from 220 Mbps to 2.0 Gbps.

The range of recording modes is made possible by the docking SR-R4 SR MASTER 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 also includes another field recorder, a studio deck, transfer stations and an affordable computer drive.

The SRMASTER system represents a significant advance in two distinct production styles: episodic TV (for which SR File recording is the popular choice) and cinema (for which the RAW recording is most often selected).

The companion SR-R4 docks to the F65
camera—no cables required.

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16-bit linear RAW

In commercials and feature film production, most projects choose the stunning image quality and the flexibility of 16-bit linear RAW recording. read more

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16-bit linear RAW

In commercials and feature film production, most projects choose the stunning image quality and the flexibility of 16-bit linear RAW recording.

  • Preserves the full quality of the original captured image, including the full resolution of the image sensor
  • Flexible demosaicing "develops" the latent RAW image into RGB output files
  • Your choice of output resolution: gloriously supersampled HD, supersampled 2K, true 4K, 6K or even 8K
  • 16-bit linear imagery for supple grayscale rendition that 10- and 12-bit systems cannot match
  • Choice of F65RAW-SQ mode with mild 3.6:1 compression or F65RAW-Lite mode with 6:1 compression
  • 120 fps High Frame Rate with F65RAW-HFR mode; no windowing, no crop factor, no change in angle of view
  • 1-120 fps Slow & Quick motion; overcranking and undercranking in 1 fps increments; speed ramps during a shot
  • Incredible resolution for compositing at the very highest quality
  • Motion stabilization in post
  • Flexibility to extract 4K, 2K, and HD quadrants from the full-resolution image


Even with the 16-bit precision and higher pixel count of Sony's 8K image sensor, the F65RAW file sizes are in the same ballpark as those of other cameras.

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SR File high definition

The schedule and budgets of episodic TV impose unique production requirements. Under this time-is-money pressure, many TV shows choose SR File recording. read more

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SR File high definition

The schedule and budgets of episodic TV impose unique production requirements. Under this time-is-money pressure, many TV shows choose SR File recording.

  • 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 880 and 440 Mbps plus space-saving 220 Mbps SR-Lite
  • Choice of 4:4:4 RGB or 4:2:2 Y/Cb/Cr recording
  • 12-bit and 10-bit recording for superb tonal rendering (12-bit recording at 880 Mbps)
  • Variable frame rates: 1-60 fps in SR-HQ, SR-SQ and SR-Lite modes at 23.98, 24, 25, or 29.97 fps time code
  • 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


File sizes in MegaBytes per second at 24p. SR File sizes are extremely manageable, and readily comparable to other cameras.

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Up to 120 frames per second

From stunts and explosions to the fall of a single raindrop, F65 high-speed shooting is a powerful storytelling tool. The F65RAW-HFR mode enables high frame rate shooting at up to 120 frames per second. read more

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Up to 120 frames per second

From stunts and explosions to the fall of a single raindrop, F65 high-speed shooting is a powerful storytelling tool. The F65RAW-HFR mode enables high frame rate shooting at up to 120 frames per second. 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 to 120 fps in 1 fps increments. Ramping even enables you to vary frame rates during a shot. The F65 delivers full resolution at frame rates of 1 to 60 frames per second (in F65RAW-SQ and F65RAW-Lite modes), and up to 120 frames per second at reduced resolution in F65RAW-HFR mode. In all modes, you get high-speed shots without "windowing," crop factor or change of effective focal length.

Projects that use SR File recording can take advantage of Slow & Quick motion from 1 to 60 fps in 1 fps increments in all modes: SR-HQ, SR-SQ and SR-Lite.

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Rotary shutter option

Typical CMOS sensor cameras read out one row of pixels at a time. This can cause a "rolling shutter" effect because the exposure timing of each row is slightly offset from the next. The result can be visible distortion, particularly in the horizontal movement of objects with strong vertical lines. read more

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Rotary shutter option

Typical CMOS sensor cameras read out one row of pixels at a time. This can cause a "rolling shutter" effect because the exposure timing of each row is slightly offset from the next. The result can be visible distortion, particularly in the horizontal movement of objects with strong vertical lines. Rolling shutter also incurs "flash banding" where a strobe light illuminates only a horizontal band across the frame. The F65 image sensor uses a very fast configuration of more than 16,000 column-parallel analog-to-digital converters to substantially reduce rolling shutter artifacts.

The rotating blades provide shutter angles from 11.2 to 180 degrees.

But for productions that demand complete accuracy, the F65's rotary shutter option preserves the geometric integrity of on-screen objects and eliminates flash banding completely. The rotary shutter takes the form of rotating blades that support variable shutter angles from 11.2 to 180 degrees. Conventional, electronic shutter is still available at angles from 4.2 to 360 degrees.

The rotary shutter option also includes a set of Neutral Density filters including Clear, 0.9, 1.2, 1.5 and 1.8 ND, which provide 0, 3, 4, 5, and 6 stops of filtration.

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Fast, high-capacity SRMemory® cards

It's not hard to record data onto memory cards. The real challenge is achieving high transfer speeds, high recording capacity and robust data integrity. SRMemory® cards can spare you sleepless nights. Powerful error correction inside the cards safeguards the integrity of your productions. Capacities are huge. And transfers are fast. read more

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Fast, high-capacity SRMemory® cards

It's not hard to record data onto memory cards. The real challenge is achieving high transfer speeds, high recording capacity and robust data integrity. SRMemory® cards can spare you sleepless nights. Powerful error correction inside the cards safeguards the integrity of your productions. Capacities are huge. And transfers are fast.

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. Maximum sustained write speed is 5 Gbps. Made possible by dedicated memory controller circuits inside each card, this speed enables full resolution RAW recording at 16 bits of precision. The maximum capacity of 1 Terabyte2 is a benchmark that leaves conventional memory cards far behind.


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

Model Capacity2 Sustained
Write
Speed
Accent Color
SR-256S15 256 GB 1.5 Gbps Orange
SR-512S25 512 GB 2.5 Gbps Blue
SR-1TS25 1 TB 2.5 Gbps Blue
SR-256S55 256 GB 5.5 Gbps Black
SR-512S55 512 GB 5.5 Gbps Black
SR-1TS55 1 TB 5.5 Gbps Black

1. Read speed measured with benchmark software. Actual transfer speed varies based upon the measurement conditions.
2. 1 TB equals one trillion bytes and 1 GB equals one billion bytes, a portion is used for data management functions

Recording Format Maximum Recording Time, approx. minutes at 24p
  SR-
256S15
SR-
512S25
SR-
1TS25
SR-
256S55
SR-
512S55
SR-
1TS55
  1.5 Gbps; 
256 GB
2.5 Gbps; 
512 GB
2.5 Gbps; 
1 TB
5.5 Gbps; 
256 GB
5.5 Gbps; 
512 GB
5.5 Gbps; 
1 TB
F65RAW-SQ N/A 30* 61* 15 30 61
F65RAW-HFR N/A N/A N/A 6 12 24
F65RAW-Lite 25* 50* 101* 25 50 101
SR-HQ (4:4:4 12-bit) 40 80 160 40 80 160
SR-SQ (4:2:2 10-bit) 75 150 302 75 150 302
SR-Lite (4:2:2 10-bit) 142 285 572 142 285 572



* SR-256S15, SR-512S25 and SR-1TS25 support F65RAW-Lite to 29.97 fps, maximum. SR-512S25 and SR-1TS25 support F65RAW-SQ to 25 fps, maximum.

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PL Lens mount

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. read more

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PL Lens mount

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 F65 takes full advantage with the PL lens mount.

Electronic contacts for both the Cooke /i and ARRI Lens Data System (LDS) interfaces enable frame-by-frame recording of lens metadata, including your settings for zoom, focus, iris and depth of field. The SR-R4 automatically records this metadata along with the picture onto SRMemory® cards. So even if you're pulling focus and zooming simultaneously, your VFX team will know exactly what you've done frame by frame. (Cooke /i metadata is supported in the free Version 2.0 firmware upgrade. ARRI LDS metadata will be supported in the future.)

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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. 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-FS700U 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 23.6 x 13.3 mm
Sensor Diagonal 28 mm 27.1 mm 27.1 mm 27.1 mm 27.1 mm 27.1 mm
Sensor Aspect Ration 1.89:1 (17:9) 1.89:1 (17:9) 1.89:1 (17:9) 1.89:1 (17:9) 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 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 v1.4 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 v1.3 upgrade
• F55RAW, 16-bit, 240 Mbps with AXS-R5 and v1.3 upgrade
• XAVC 4:2:2, 10-bit, 90 Mbps Internal with v1.3 upgrade
• F5RAW, 16-bit, 240 Mbps with AXS-R5 and v1.3 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, 80 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, 80 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 v1.3 upgrade
• 180 fps @ 2K/HD XAVC with v1.4 upgrade
• 240 fps @ 2K RAW with AXS-R5 and v1.3 upgrade
• 180 fps @ 2K/HD XAVC with v1.4 upgrade
• 60 fps @ 1080p with SR-R1
• 60 fps @ 720p internal
• 30 fps @ 1080p internal
• 960 fps in Super Slow Motion
• 60 fps 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)i
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
• 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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Files that play back on a PC

The SR File encoding process is hugely complex and processing intensive. But the decoding process is fast and simple. As a result, SR File clips 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. read more

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Files that play back on a PC

The SR File encoding process is hugely complex and processing intensive. But the decoding process is fast and simple. As a result, SR File clips 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.

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. 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, SR File recording uses ISO/IEC compression: MPEG-4 Simple Studio Profile (SStP).

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Cost-effective quality

SR File high definition recording gives you a powerful combination of high quality and moderate cost. For example, SR File recording can capture the full, 14-stop exposure latitude of the camera, thanks to S-Log 2. And the important sharpness benefit of the 8K sensor will be evident in your supersampled HD recordings. read more

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Cost-effective quality

SR File high definition recording gives you a powerful combination of high quality and moderate cost. For example, SR File recording can capture the full, 14-stop exposure latitude of the camera, thanks to S-Log 2. And the important sharpness benefit of the 8K sensor will be evident in your supersampled HD recordings.

The SR File system is directly based on the HDCAM-SR® tape format, the de facto standard for recording, storing, exchanging and archiving so many HD productions. With the SRMASTER system, exactly the same codec comes to file-based recording. The advantages are decisive.

  • Mild compression; picture quality close to uncompressed at a significantly lighter data payload
  • Substantial savings in bandwidth and RAID hard disk arrays compared to uncompressed, for example 76% savings in 440 Mbps SQ mode
  • 880 Mbps SR-HQ mode is virtually lossless compared to uncompressed recording
    • 4:2:2 Y/Cb/Cr 10-bit up to 60p
    • 4:4:4 RGB 10-bit up to 60p
    • 4:4:4 RGB 12-bit recording up to 60p
  • 440 Mbps SR-SQ mode is visually lossless compared to uncompressed recording
    • 4:2:2 Y/Cb/Cr 10-bit up to 60p
    • 4:4:4 RGB 10-bit up to 60p
  • 220 Mbps SR-Lite mode
    • 4:2:2 Y/Cb/Cr 10-bit up to 60p
    • Perfect for television production
    • Enables faster file transfers and an 88% savings in storage cost versus 4:4:4 uncompressed
    • Difficult to see the difference versus 440 Mbps

The Gigabytes really add up. Uncompressed 1920x1080 recording can require 671 GB for a single hour of material. The three SR File 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
  • Each progressive frame or interlaced field is calculated independently
  • 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
  • Up to 16 channels of uncompressed audio: 24-bit depth, 48 kHz sampling; up to 8 channels at 96 kHz sampling

File sizes in Megabytes per second at 24p. SR File sizes are quite manageable and readily comparable to other cameras.

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Faster-than-realtime transfer

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 and efficient post production. You need a system that simplifies data wrangling and minimizes sleepless nights. With up to 10x faster-than-realtime transfer speeds, the SR File system really delivers. read more

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Faster-than-realtime transfer

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 and efficient post production. You need a system that simplifies data wrangling and minimizes sleepless nights. With up to 10x faster-than-realtime transfer speeds, the SR File system really delivers.

SR File recording offers more than simple transfer speed. With the SR-PC4 transfer station, the free version 2.0 upgrade and an optional 10GigE connection, you can transfer assets at up to 10x real time. (Transfer speeds vary. Requires a third-party PCIe card.)

The F65 works in tandem with the docking SR-R4 SRMASTER® recorder to store your production on rugged, reliable SRMemory® cards. Part of the complete SRMASTER production system, the cards work with a wide choice of Sony transfer stations.

The Sony SRMASTER® system offers four transfer stations, from left to right: the SR-PC4, SR-D1 bare drive, the SRPC-5 and a multi-channel server, the SR-R1000.

The SR-PC4 transfer station is the perfect partner for on-set dailies and grading tools. And it's ideal for the video village.

  • Instant review of footage via web-based GUI (SRControl)
  • DC operation (AC adaptor supplied)
  • Fast data transfer to computers via Gigabit Ethernet or optional 10 Gigabit Ethernet (10GigE requires a third-party PCIe card)
  • Transfer speeds of up to 3.2 Gbps (400 MB/s) using 10GigE interface (with free v2.0 upgrade, requires third-party PCIe card). (Your mileage may vary. We have seen 400 MB/s with Linux, up to 320 MB/s with a MacBook Pro® computer and Thunderbolt™ chassis transferring F65RAW-SQ and F65RAW-Lite and 220 MB/s on the MacBook Pro system transferring SR-Lite.)
  • Supports SR File and F65RAW formats
  • F65RAW monitoring via HD-SDI output
  • Direct data copy to shuttle drives via optional eSATA (host) interface

The SR-D1 drive is the compact, affordable choice, opening the F65 to a wider audience.

  • Highly compact and lightweight for use on the desktop or on location
  • USB 3.0 and eSATA interfaces
  • Supports SR File and F65RAW formats
  • High-speed file transfer
  • Direct access to SRMemory files from a PC
  • Drag-and-drop file transfers
  • Transfers up to 187 MB/s (performance varies according to host device and operating conditions)
  • DC operation (AC adaptor supplied)

The SR-PC5 transfer station is a rack mountable component that supports web-based file browsing, file transfer, ingest, data backup and more.

  • Web-based GUI (SRControl)
  • Fast transfers via supplied Gigabit Ethernet or optional 10 Gigabit Ethernet network interface (10GbE requires third-party PCIe card)
  • Fast ingest from HDCAM-SR® tapes, up to 2x real time (will be supported in future)
  • Direct data backup to HDCAM-SR tape when connected to the SRW-5800/2 fitted with the HKSR-5804 option board
  • Direct data copy to shuttle drives via optional eSATA (host) interface (requires third-party PCIe card)
  • 1 Rack Unit high; fits a 19-inch rack

The SR-R1000 multi-channel server performs a range of live production and postproduction tasks, including multi-camera ISO recording, instant slow replay, clip feeder, high-speed multi-ingest and cache storage.

  • Four SRMemory® card slots with simultaneous ingest of up to four cards at a time (depending on the type of data)
  • Four dual-stream channels can be configured 3-in/1-out, 2-in/2-out or 1-in/3-out; supports stereoscopic 3D
  • Up to 8 TB of internal memory storage (1 TB equals one trillion bytes, a portion of which is used for data management functions)
  • Offloads a full 1 TB card to internal storage in less than 30 minutes
  • 16 channels of digital audio
  • Networking with Gigabit Ethernet interface and File Transfer Protocol (FTP) support
  • Format converter & multi-monitor output
  • Sony VTR/Disk control protocols for live production environments (VDCP protocol will be supported in the future)
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Backup and checksum

Ultimately, digital productions depend on data wrangling. For high reliability, the SR-PC4 and SRPC-5 SRMASTER transfer stations help confirm your data transfers via checksum. This works with third-party solutions, including ShotPut Pro™ software, as well as command line tools and Sony's own SRV-10 Viewer software (for SR File) and RAW Viewer software (for F65RAW content). read more

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Backup and checksum

Ultimately, digital productions depend on data wrangling. For high reliability, the SR-PC4 and SRPC-5 SRMASTER transfer stations help confirm your data transfers via checksum. This works with third-party solutions, including ShotPut Pro™ software, as well as command line tools and Sony's own RAW Viewer software (for F65RAW content) and SRV-10 Viewer software (for SR File assets).


Confirm your data transfers via checksum.

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Compatible dailies and transcode tools

Not so long ago, cans of exposed film were shipped off to the lab where a considerable amount of work was done. Film was developed, printed and transferred to tape while offline files were created for editorial. Today's digital productions don't need film labs. But they still need copies created for backup, editorial and client review. On-set dailies systems can undertake all of these functions, plus an expanded list of deliverables that can include audio syncing, applying a color grade, on-set streaming to tablets, and pulls for visual effects. read more

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Compatible dailies and transcode tools

Not so long ago, cans of exposed film were shipped off to the lab where a considerable amount of work was done. Film was developed, printed and transferred to tape while offline files were created for editorial. Today's digital productions don't need film labs. But they still need copies created for backup, editorial and client review. On-set dailies systems can undertake all of these functions, plus an expanded list of deliverables that can include audio syncing, applying a color grade, on-set streaming to tablets, and pulls for visual effects.

  • Audio Syncing
  • Apply Color Grade
  • Editorial Files (Offline)
  • DNxHD 36, ProRes Proxy...
  • Editorial Files (Online)
  • DNxHD 175x, ProRes 422HQ...
  • On-set Streaming Video
  • iPad® or Android™ device
  • VFX Pulls
  • DPX, Open EXR...

Demand is growing for on-set and near-set deliverables.

F65RAW recording is compatible with a wide range of dailies and transcode solutions:

  • Assimilate Scratch Lab
  • Blackmagic Design DaVinci Resolve
  • Codex Digital Vault
  • Colorfront On Set Dailies
  • Colorfront Express Dailies
  • Filmlight Baselight Transfer
  • Filmlight FLIP
  • MTI Film Control Dailies
  • MTI Film Cortex
  • Yo Yotta YoYo Dailies
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Native SR File editing

Native SR File editing can be substantially faster and easier than transcoding files for editing and then re-linking to camera masters. Sony has been cooperating with nonlinear editing vendors to deliver on this promise. read more

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Native SR File editing

Native SR File editing can be substantially faster and easier than transcoding files for editing and then re-linking to camera masters. Sony has been cooperating with nonlinear editing vendors to deliver on this promise.

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Native SR File grading, DI and VFX

As with editing, SR File content is now compatible with a wide range of the leading tools in color correction, digital intermediate and visual effects. In many cases, this enables you to finish productions without tedious transcoding. read more

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Native SR File grading, DI and VFX

As with editing, SR File content is now compatible with a wide range of the leading tools in color correction, digital intermediate and visual effects. In many cases, this enables you to finish productions without tedious transcoding.

  • Assimilate Scratch
  • Autodesk Lustre
  • Autodesk Flame Premium
  • Autodesk Flame
  • Autodesk Flare
  • Blackmagic Design DaVinci Resolve
  • DVS Clipster
  • Filmlight Baselight
  • Image Systems Nucoda
  • Quantel Pablo
  • Quantel Pablo Rio
  • Quantel IQ
  • Quantel eQ
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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. 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 Academy Color Encoding System (ACES). We are honored to note that the world's first 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 ACES. read more

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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. 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 Academy Color Encoding System (ACES). We are honored to note that the world's first 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 ACES.

Thanks to the enormous color-handling potential of 16-bit linear OpenEXR storage, the ACES workflow beautifully maintains color values from scene to screen. 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. ACES is a breakthrough in color reproduction. And the F65 supports it.

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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 File assets. 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. read more

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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 File assets. 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 can dock to an SRW-5800/2 tape deck and clone the SR File assets 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.

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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 retains maximum resolution. Sixteen-bit linear recording equates to 65,536 shades of tonal gradation per channel, preserving the maximum in grayscale accuracy and dynamic range. The RAW image also reflects a minimum of in-camera processing. read more

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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 retains maximum resolution. Sixteen-bit linear recording equates to 65,536 shades of tonal gradation per channel, preserving the maximum in grayscale accuracy and dynamic range. The RAW image also reflects a minimum of in-camera processing. RAW does not bake in any color matrix, detail, knee, white clip or saturation adjustments. 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.

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Choice of HD, 2K, 4K, 6K or 8K output resolution

Because RAW recording preserves the full resolution of the image sensor, the F65 RAW files maintain extraordinary flexibility in output resolution. read more

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Choice of HD, 2K, 4K, 6K or 8K output resolution

Because RAW recording preserves the full resolution of the image sensor, 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 high-sharpness HD master, with contrast beyond the reach of conventional HD cameras.


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 (light blue curve) deliver far higher contrast at high frequencies, for a noticeably sharper picture.

  • Supersampled 2K. The same advantages that extend HD picture quality also apply to digital cinema 2K files.
  • Supersampled 4K. Unlike 4K cameras, the F65 assures that each pixel in the 4K output file is based on a green photosite in the image sensor. That's important because 4K is a burgeoning market. Thousands of movie theaters have gone 4K. The roster of films distributed in 4K continues to grow month by month. Under the name Ultra-High Definition TV, 4K is now a consumer reality. 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.
  • 6K, 8K and 8K anamorphic de-squeeze. With the release of Sony's upgraded Software Development Kit and Sony's latest RAW Viewer software, you can demosaic files to 16-bit linear RGB at resolutions of 6K (6144x3240), 8K (8192x4320) and 8K anamorphic 2x de-squeeze (8192 x 2160, aspect ratio 3.80:1).
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Surprising practicality

To cinematographers, 16-bit RAW capture from a 20 megapixel sensor may sound ideal. To data wranglers, it may sound like a potential pain when it comes time to back up, transcode or transfer files over a network. Have no fear. F65RAW files are smaller, lighter and far more practical than you might expect. read more

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Surprising practicality

To cinematographers, 16-bit RAW capture from a 20 megapixel sensor may sound ideal. To data wranglers, it may sound like a potential pain when it comes time to back up, transcode or transfer files over a network. Have no fear. F65RAW files are smaller, lighter and far more practical than you might expect.

  • Practical file sizes in the same ballpark as Red Epic 3:1 and ARRIRAW 4:3, thanks in part to mild 3.6:1 compression.
  • Space-saving F65RAW-Lite. Gentle 6:1 compression yields an even lighter load.
  • Easy playback on a PC. Sony RAW Viewer software, now in Version 1.1, enables you to browse and preview files on a Mac® or Windows® PC. Read more.
  • Faster-than-realtime file transfers. They're made possible by the Sony SR-R4 transfer station with version 2.0 firmware and optional 10GigE interface (third-party PCIe card required). Not only do F65RAW-SR files transfer faster than Red Epic 3:1 and ARRIRAW 4:3, but F65RAW-Lite files are faster still. Read more.

File sizes in Megabytes per second at 24p. Despite the 16-bit precision and higher pixel count of Sony's 8K image sensor, the F65RAW file sizes are in the same ballpark as those of other cameras.

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Files that play back on a PC

F65RAW files play back on Windows® and Macintosh® computers with Sony's RAW Viewer software, now embracing RAW content from the Sony F55, F5 and NEX-FS700 cameras, in addition to the F65. The software supports a rich range of functions. read more

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Files that play back on a PC

F65RAW files play back on Windows® and Macintosh® computers with Sony's RAW Viewer software, now embracing RAW content from the Sony F55, F5 and NEX-FS700 cameras, in addition to the F65. The software supports a rich range of functions:

  • A single player for F65, F55, F5 and NEX-FS700 RAW material
  • Browse RAW clips
  • Develop RAW data and demosaic it to RGB by batch processing
  • View clips in a selected resolution: 4K, QFHD, 2K or HD
  • F65 Advanced Demosaic for 6K (6144x3240), 8K (8192x4320) and 8K anamorphic 2x de-squeeze (8192 x 2160; 3.8:1)
  • Primary color grading, sensitivity adjustment, color temperature and look control
  • Export files in 10- or 16-bit DPX: 4096x2160, 3840x2160, 2048x1080, 1920x1080
  • Export files in OpenEXR: 32-bit float, 4096x2160, 3840x2160, 2048x1080, 1920x1080
  • Export audio files (BWF)
  • Academy Color Encoding System (ACES) support with the ability to apply Reference Rendering Transform (RRT), Input Device Transform (IDT) and Output Device Transform (ODT)
  • Clip metadata display
  • Cook /i system lens metadata display
  • Metadata entry for Scene, Take, Circle, Project Name and Director Name
  • Checksum utility for SR-PC4 and SRPC-5
  • Flipped image export
  • Thumbnail image change

Download RAW Viewer v1.1.


This RAW Viewer screen grab highlights the browsing pane (red border), task queue (yellow) and input settings/look control (blue).

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Faster-than-realtime transfers

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 and efficient post production. read more

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Faster-than-realtime transfers

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 and efficient post production. You need a system that simplifies data wrangling and minimizes sleepless nights. Sony's RAW recording delivers. Using the SR-PC4 transfer station and optional 10GigE interface, you can transfer F65RAW-Lite files at 2x faster than realtime. So 20 minutes of material transfers in just ten minutes. And even though F65RAW-SQ material has higher resolution than competing cameras, it transfers at speeds comparable to other RAW assets.


SRMemory® cards offer more than simple transfer speed. With the SR-PC4 transfer station, the free version 2.0 upgrade and an optional 10GigE connection, you can transfer RAW files at up to 2x real time. (Transfer speeds vary. Requires a third-party PCIe card.)

The F65 works in tandem with the docking SR-R4 SRMASTER® recorder to store your production on rugged, reliable SRMemory® cards. Part of the complete SRMASTER production system, the cards work with a wide choice of Sony transfer stations.


The Sony SRMASTER® system offers four transfer stations, from left to right: the SR-PC4, SR-D1 bare drive, the SRPC-5 and a multi-channel server, the SR-R1000.

The SR-PC4 transfer station is the perfect partner for on-set dailies and grading tools. And it's ideal for the video village.

  • Instant review of footage via web-based GUI (SRControl)
  • DC operation (AC adaptor supplied)
  • Fast data transfer to computers via Gigabit Ethernet or optional 10 Gigabit Ethernet (10GbE requires a third-party PCIe card)
  • Transfer speeds of up to 3.2 Gbps (400 MB/s) using 10GigE interface (with free v2.0 upgrade, requires third-party PCIe card). (Your mileage may vary. We have seen 400 MB/s with Linux, up to 320 MB/s with a MacBook Pro® computer and Thunderbolt™ chassis transferring F65RAW-SQ and F65RAW-Lite and 220 MB/s on the MacBook Pro system transferring SR-Lite.)
  • Supports F65RAW and SR File formats
  • F65RAW monitoring via HD-SDI output
  • Direct data copy to shuttle drives via optional eSATA (host) interface

The SR-D1 drive is the compact, affordable choice, opening the F65 to a wider audience.

  • Highly compact and lightweight for use on the desktop or on location
  • USB 3.0 and eSATA interfaces
  • Supports F65RAW and SR File formats
  • High-speed file transfer
  • Direct access to SRMemory files from a PC
  • Drag-and-drop file transfers
  • Transfers up to 187 MB/s (performance varies according to host device and operating conditions)
  • DC operation (AC adaptor supplied)

The SR-PC5 transfer station is a rack mountable component that supports web-based file browsing, file transfer, ingest, data backup and more.

  • Web-based GUI (SRControl)
  • Fast transfers via supplied Gigabit Ethernet or optional 10 Gigabit Ethernet network interface (10GbE requires third-party PCIe card)
  • Supports F65RAW and SR File formats
  • Fast ingest from HDCAM-SR® tapes, up to 2x real time (will be supported in future)
  • Direct data backup to HDCAM-SR tape when connected to the SRW-5800/2 fitted with the HKSR-5804 option board
  • Direct data copy to shuttle drives via optional eSATA (host) interface (requires third-party PCIe card)
  • 1 Rack Unit high; fits a 19-inch rack

The SR-R1000 multi-channel server performs a range of live production and postproduction tasks, including multi-camera ISO recording, instant slow replay, clip feeder, high-speed multi-ingest and cache storage.

  • Four SRMemory® card slots with simultaneous ingest of up to four cards at a time (depending on the type of data)
  • Four dual-stream channels can be configured 3-in/1-out, 2-in/2-out or 1-in/3-out; supports stereoscopic 3D
  • Up to 8 TB of internal memory storage (1 TB equals one trillion bytes, a portion of which is used for data management functions)
  • Offloads a full 1 TB card to internal storage in less than 30 minutes
  • Supports F65RAW and SR File formats
  • 16 channels of digital audio
  • Networking with Gigabit Ethernet interface and File Transfer Protocol (FTP) support
  • Format converter & multi-monitor output
  • Sony VTR/Disk control protocols for live production environments (VDCP protocol will be supported in the future)
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Backup and checksum

Ultimately, digital productions depend on data wrangling. For high reliability, the SR-PC4 and SRPC-5 SRMASTER transfer stations help confirm your data transfers via checksum. This works with third-party solutions, including ShotPut Pro™ software, as well as command line tools and Sony's own RAW Viewer software (for F65RAW content) and SRV-10 Viewer software (for SR File assets). read more

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Backup and checksum

Ultimately, digital productions depend on data wrangling. For high reliability, the SR-PC4 and SRPC-5 SRMASTER transfer stations help confirm your data transfers via checksum. This works with third-party solutions, including ShotPut Pro™ software, as well as command line tools and Sony's own RAW Viewer software (for F65RAW content) and SRV-10 Viewer software (for SR File assets).


Confirm your data transfers via checksum.

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Compatible dailies and transcode tools

Not so long ago, cans of exposed film were shipped off to the lab where a considerable amount of work was done. Film was developed, printed and transferred to tape while offline files were created for editorial. Today's digital productions don't need film labs. But they still need copies created for backup, editorial and client review. On-set dailies systems can undertake all of these functions, plus an expanded list of deliverables that can include audio syncing, applying a color grade, on-set streaming to tablets, and pulls for visual effects. read more

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Compatible dailies and transcode tools

Not so long ago, cans of exposed film were shipped off to the lab where a considerable amount of work was done. Film was developed, printed and transferred to tape while offline files were created for editorial. Today's digital productions don't need film labs. But they still need copies created for backup, editorial and client review. On-set dailies systems can undertake all of these functions, plus an expanded list of deliverables that can include audio syncing, applying a color grade, on-set streaming to tablets, and pulls for visual effects.

  • Audio Syncing
  • Apply Color Grade
  • Editorial Files (Offline)
  • DNxHD 36, ProRes Proxy...
  • Editorial Files (Online)
  • DNxHD 175x, ProRes 422HQ...
  • On-set Streaming Video
  • iPad® or Android™ device
  • VFX Pulls
  • DPX, Open EXR...

Demand is growing for on-set and near-set deliverables.

F65RAW recording is compatible with a wide range of dailies and transcode solutions:

  • Assimilate Scratch Lab
  • Blackmagic Design DaVinci Resolve
  • Codex Digital Vault
  • Colorfront On Set Dailies
  • Colorfront Express Dailies
  • Filmlight Baselight Transfer
  • Filmlight FLIP
  • MTI Film Control Dailies
  • MTI Film Cortex
  • Yo Yotta YoYo Dailies
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Native F65RAW editing

While some productions will choose to transcode to offline editing files and then re-link to F65RAW assets, these assets work directly with a growing range of nonlinear editing systems: read more

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Native F65RAW editing

While some productions will choose to transcode to offline editing files and then re-link to F65RAW assets, these assets work directly with a growing range of nonlinear editing systems:

  • Adobe Premiere CS6.
  • Autodesk Smoke Advanced
  • Avid Media Composer 5.5.
  • Avid Symphony Nitris 5.5.
  • Quantel Qube
  • Sony Vegas® V10.d
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Native F65RAW grading, DI and VFX

As with editing, F65RAW files are now compatible with a wide range of the leading tools in color correction, digital intermediate and visual effects. In many cases, this enables you to finish productions without tedious transcoding. read more

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Native F65RAW grading, DI and VFX

As with editing, F65RAW files are now compatible with a wide range of the leading tools in color correction, digital intermediate and visual effects. In many cases, this enables you to finish productions without tedious transcoding.

  • Assimilate Scratch
  • Autodesk Lustre
  • Autodesk Flame Premium
  • Autodesk Flame
  • Autodesk Flare
  • Blackmagic Design DaVinci Resolve
  • DVS Clipster
  • Filmlight Baselight
  • Quantel Pablo
  • Quantel Pablo Rio
  • Quantel IQ
  • Quantel eQ
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Flexible demosaicing

Just as Bayer pattern RAW files need to be de-Bayered to generate viewable RGB images, F65RAW files need to be developed. While the structure of the F65RAW file is completely determined, the development process allows for considerable freedom and creativity. read more

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Flexible demosaicing

Just as Bayer pattern RAW files need to be de-Bayered to generate viewable RGB images, F65RAW files need to be developed. While the structure of the F65RAW 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 demosaicing to your budget, your time constraints and your artistic ambitions.

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Re-framing, punching in, motion stabilization

With Sony's expanded Software Development Kit and Sony's latest RAW Viewer software, productions now have the ability to demosaic the 8K image into RGB files at resolutions of 4K, 6K or even 8K. read more

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Re-framing, punching in, motion stabilization

With Sony's expanded Software Development Kit and Sony's latest RAW Viewer software, productions now have the ability to demosaic the 8K image into RGB files at resolutions of 4K, 6K or even 8K. The resulting images give you tremendous flexibility to re-frame in post. You can punch in on a master shot to highlight an area of interest, create a pan or zoom and even stabilize the image, correcting for camera shake and vibration.

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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. 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 Academy Color Encoding System (ACES). read more

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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. 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 Academy Color Encoding System (ACES). We are honored to note that the world's first 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 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.

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M. Night Shyamalan & Peter Suschitzky, ASC, BSC: "After Earth"

Some of the first delivered F65 cameras went straight to the jungles of Costa Rica.
Read the story at fdtimes.com
See the teaser trailer

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M. Night Shyamalan & Peter Suschitzky, ASC, BSC: "After Earth"

Some of the first delivered F65 cameras went straight to the jungles of Costa Rica.

Read the story at fdtimes.com

See the teaser trailer

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Claudio Miranda, ASC: "Oblivion"

F65 shines in this sci-fi thriller.
Watch the trailer

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Claudio Miranda, ASC: "Oblivion"

F65 shines in this sci-fi thriller.

Watch the trailer

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Daryn Okada, ASC: "Made in Jersey"

Fast-paced production for the CBS legal drama.
Read the full interview

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Daryn Okada, ASC: "Made in Jersey"

Fast-paced production for the CBS legal drama.

Read the full interview

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Claudio Miranda, ASC: "Call of Duty: Black Ops 2: Surprise"

What camera shot this star-studded commercial? Surprise! F65.
Watch the commercial

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Claudio Miranda, ASC: "Call of Duty: Black Ops 2: Surprise"

What camera shot this star-studded commercial? Surprise! F65.

Watch the commercial

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Paul Laufer: Taylor Swift, "We Are Never Ever Getting Back Together"

Five sets, one continuous take and one camera, the F65.
Read the interview
Read the article in Film and Digital Times

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Paul Laufer: Taylor Swift, "We Are Never Ever Getting Back Together"

Five sets, one continuous take and one camera, the F65.

Read the interview

Read the article in Film and Digital Times

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Steve Romano: "Sticks and Stones"

Leveraging resolution, gamut and latitude on an indie short.
Read the full interview

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Steve Romano: "Sticks and Stones"

Leveraging resolution, gamut and latitude on an indie short.

Read the full interview

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Michael Barrett: "No Good Deed"

Using the F65 on a feature for Screen Gems.
Read the full interview

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Michael Barrett: "No Good Deed"

Using the F65 on a feature for Screen Gems.

Read the full interview

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Curtis Clark, ASC: "El Dorado"

Indoors and outdoors, in neon nights and desert days, Curtis Clark, ASC wrings out the F65 in his short, "El Dorado." This video takes you behind the scenes.
Watch Now

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Curtis Clark, ASC: "El Dorado"

Indoors and outdoors, in neon nights and desert days, Curtis Clark, ASC wrings out the F65 in his short, "El Dorado." This video takes you behind the scenes.

Watch Now

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Super-efficient dailies for "Oblivion"

This Sony F65 production extended from Louisiana to New York City to Iceland. The Technicolor® FrameLogic™ system streamlined near-set dailies.
Read the full Case Study.

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Super-efficient dailies for "Oblivion"

This Sony F65 production extended from Louisiana to New York City to Iceland. The Technicolor® FrameLogic™ system streamlined near-set dailies.

Read the full Case Study.

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