Digital Motion Picture Cameras

A camera without

Winner of the Academy's 2017 Scientific and Engineering Award, the F65 is a study in superlatives. It conveys the widest color range, with Sony’s S-Gamut. The highest recording precision with 16-bit linear RAW. The strictest geometric integrity with a mechanical rotary shutter. And Sony tops it off with the stunning detail of a 20 megapixel image sensor. No wonder the F65 has captured some of the world’s most astonishing moving images. It has an exceptional track record in movies, commercials, music videos and episodic TV. And now Sony is taking the F65 further than ever, with 4K live production, S-Log3 grayscale encoding, high speed RAW recording at up to 120 frames per second and 12-bit, 4:4:4 high definition.

Writer/director Luc Besson and his crew on set of LUCY. Credit: Jessica Forde © Universal Pictures.

Winner of the Academy's 2017
Scientific and Engineering Award

When we launched the F65, we understood it represented a significant step forward in cinematography. Apparently, others agree. In January 2017, the Academy of Motion Picture Arts and Sciences announced that the F65 would be among the very first digital cinema cameras to win the prestigious Scientific and Engineering Award. The Academy cited the F65's "pioneering high-resolution imaging sensor, excellent dynamic range, and full 4K output." They went on to note, "Sony's unique photosite orientation and true RAW recording deliver exceptional image quality." After all the late nights and weekends spent in sensor development, recording technology and system design, we are grateful for the recognition.

The power of 20 megapixels

If you want to draw viewers into your story with texture and clarity, then the 20 megapixel image sensor of the F65 is your friend. The sensor enables unspeakably beautiful wide shots of landscapes. And it delivers immaculate imagery into post production. The 20 megapixel sensor even makes a visible difference in HD recording, where it captures detail that conventional HD sensors cannot see.

“I looked at the monitors on the DIT cart and saw an image that was much brighter than reality,” said DP Michael Barrett, about shooting with the F65 for No Good Deed. “Simply put, these cameras can reach into the darkest shadows and find detail.”


With 14+ stops of exposure latitude, the F65 delivers an impressively “fat negative.” Colorists have been astounded by the way the camera sees into the shadows, while still enabling you to dig out highlight detail. And now Sony has a brilliant way to preserve that latitude for post. If you’re shooting HD, the S-Log3/S-Gamut3.Cine mode packs maximum dynamic range into your HD signal, retaining the utmost flexibility in post. If you’re shooting RAW, the S-Log3/S-Gamut3.Cine LUT is an excellent starting point for color correction. You’ll spend less time “getting into the ballpark,” leaving more time for creativity.

Scarlett Johansson is “Lucy,” written and directed by Luc Besson,
cinematography by Thierry Arbogast, AFC. © Universal Pictures.

Color outside the lines

Why accept ordinary color when you can go substantially beyond? Thanks to advanced dyes in the image sensor’s color filter array, Sony’s S-Gamut reproduces reds and greens that are literally beyond the reach of competing cameras. Then we preserve every last nuance of color with phenomenal 16-bit linear RAW recording. This encodes over 65,000 discrete shades Red, plus 65,000 Blues, plus 65,000 greens, for more than 275,000,000,000,000 possible colors. Want the ultimate in color fidelity? Then you want Sony.

“I’ve graded every kind of 2K and 4K RAW image in my grading bay and theatre,” said Leandro Marini of Local Hero in Santa Monica. “The image from the Sony F65 is by far the best I’ve ever seen. It has the clarity and pure resolution of a true 4K imager, but somehow also combines in a great dynamic range, soft skin-tones and natural looking color in general.”

120 frames per second

Now F65 RAW delivers 5x super slow motion playback. You get exquisite slow motion effects not only for sports, stunts and explosions, but also nature in delicious detail. The camera captures up to 60 fps at full resolution and up to 120 fps at reduced resolution. Slow & Quick (S&Q) motion 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. In all modes, you get high-speed shots without "windowing," crop factor or change of effective focal length.

4K live production

At awards shows, talk shows, network news, and all manner of professional and collegiate sports, the camera of choice is the Sony HDC-2500. So it was only natural that Sony adapted the F65 for 4K live production, using the same camera control units and remote panels as the 2500. To your current production arsenal, the F65 delivers flexible instant replay with HD cutout, pan and zoom; incredible two-camera stitching; 120p Slow Motion; plus the opportunity to create an evergreen 4K master recording.

The CA-4000 fiber adapter, sold separately, mounts on the back of the
F65, transforming the camera into a live production powerhouse.

iPad® remote control

Show a Sony engineer an iPad® tablet, and he’ll show you a remote control and file viewer for the F65. Using Sony’s free iOS® app, F65 Remote Look Plus, you can stream the F65 picture live, play back clips from the camera’s recorder, control camera settings as if you were hands-on, and tweak the color with ASC CDL controls. The Offline mode even functions as an F65 simulator, enabling you to get comfortable with the camera’s user interface before you go on set.