Digital Motion Picture Cameras

FS5 Version 4.02:
More power in your toolkit.

How did we improve on our
bestselling FS7? We listened.

The FS7 II joins the original FS7.

RAW has never been so refined.

New AXS-R7 RAW recorder for F55 and F5

A perfect match for
"The Wedding Ringer"

Rodrigo Prieto, "The Homesman"

"Takes handheld to another level."

Michelle McCabe, DP, Nun Creative, LLC

SONY Digital Motion Picture Cameras:

Silicon, glass and steel
in the service of art

At Sony, the quest for better imaging never stops. It spurs us to do the hard stuff. To develop and fabricate ground-breaking image sensors. To create original codecs that combine unprecedented quality and practicality. To build forward-looking recording systems and incredibly useful lens mounts. The resulting Sony® CineAlta® cameras capture world-beating color. And resolution beyond the ordinary. And sensitivity. And exposure latitude. That's why DPs choose Sony CineAlta cameras for everything from intensely personal projects to big-budget blockbusters.

F65 on the set for the MyTeeVee Match episode "The Society." Director: Ian Spohr. DP: Marc Ritzema

Capture colors that others can't.

In the fashion business, absolute color fidelity is mission critical. That's why B Productions captured the Tory Burch Spring 2014 runway show in 16-bit linear RAW with a fleet of Sony F55s.

We design our own image sensors and build them in our own factory. That's how the Sony F65 and F55 can capture shades of green and red that are not simply beyond the reach of other digital cameras. They're beyond the capability of print film. And where others record with 10-bit or 12-bit precision, Sony's 16-bit linear RAW delivers 4,000 times as many color gradations. Which means that every nuance of color is faithfully preserved.

Shot on Sony

Movies — Episodic TV — Reality/Docs

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CineAlta Magazine

Go behind the scenes with our digital motion picture cameras. See the real stories of the people behind the cameras, in the edit bay and in the color correction suite.

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@ction Magazine

Get the inside story on amazing projects shot on Sony FS Series cameras, as told by the production teams themselves.

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Which camera?

From the Super Slow Motion FS700R to the king-of-the-hill F65, Sony has a camera for every project.







Sensor Resolution 8192 x 2160 4096 x 2160 4096 x 2160 4096 x 2160 4096 x 2160 3840 x 2160 4096 x 2160
Color Gamut S-Gamut S-Gamut Wide Wide Wide Wide Wide
Lens Mount PL Sony FZ + PL Sony FZ + PL Sony Lever Lock Type E-Mount Sony E-Mount Sony E-Mount Sony E-Mount
Linear RAW recording From 8K to 2K
16-bit with SR-R4 recorder
4K and 2K 16-bit with optional
4K and 2K 16-bit with optional
4K and 2K 12-bit with XDCA-FS7, AXS-R5 + HXR-IFR5 4K and 2K 12-bit with XDCA-FS7, AXS-R5 + HXR-IFR5 4K and 2K 12-bit with XDCA-FS7, AXS-R5 + HXR-IFR5 4K and 2K 12-bit with AXS-R5 + HXR-IFR5
Shutter Rotary + Electronic Frame Image Scan Electronic Electronic Electronic Electronic Electronic
Exposure Latitude 14+ stops 14 stops 14 stops 14 stops 14 stops 14 stops >12 stops
Maximum Frame Rate Up to 120 fps in one frame increments in 4K RAW Up to 240 fps in one frame increments in 2K RAW;
Up to 180 fps on board
Up to 240 fps in one frame increments in 2K RAW;
Up to 180 fps on board
Up to 180 fps in one frame increments on board Up to 180 fps in one frame increments on board 960 fps on board (burst mode) 960 fps on board (burst mode)
Maximum Bitrate @24p 5.5 Gbps w. SR-R4 in 8K 960 Mbps w.
AXS-R5 in 4K
960 Mbps w.
AXS-R5 in 4K
960 Mbps with XDCA-FS7, AXS-R5 + HXR-IFR5 960 Mbps with XDCA-FS7, AXS-R5 + HXR-IFR5 4K and 2K 12-bit with XDCA-FS7, AXS-R5 + HXR-IFR5 960 Mbps with AXS-R5 + HXR-IFR5
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Sony's community

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Read and comment on the latest in Sony
CineAlta cameras, upgrades and user experience.

Put your shoulder into it. The CBK-55BK dock transforms the F5 and F55 with true shoulder-mount ergonomics, when that is what the shoot requires.

Built to work
the way you do

Sony CineAlta cameras fit—comfortably—into the on-set realities of today's productions. We designed FS7 from the ground up for long-form, handheld shooting. And the highly modular F55 and F5 now slide into the CBK-55BK shoulder mount dock, sold separately. When docked, the F55 and F5 combine the capabilities of a Super 35 cinema camera with the ergonomics of a shoulder-mount 2/3-inch broadcast/documentary camcorder.

Exquisite slow motion

Nothing underscores dramatic action like slow motion. And nobody delivers slow motion like Sony. Our F55 and F5 capture 240 fps, which translates to an ethereal 10x slow motion when played back at 24p. And the remarkable FS700R captures up to 19 seconds in burst mode at 960 fps—a frame rate once the exclusive domain of highly expensive high-speed cameras.

Never fear the dark. Or sunlight.
Or contrast.

Bring on the pyrotechnics. Bring on the Los Angeles noontime exteriors, when the sun is direct and the shadows are deep. Bring on the night scenes with faint city lights glowing in the distance. In every aspect of exposure, Sony cameras exceed expectations, because they exceed the capabilities of the human eye. Up to 14 stops of exposure latitude equal the best that film has to offer. While extraordinary sensitivity and low noise enable you to pull detail out of darkness in ways that film never could.

DP Scott Kevan shot Deliver Us From Evil on the F55. "We wanted the Bronx to be a major presence," he says. "That's where the actual events took place and the architecture has a weight to it and a darkness even in the daylight."

Beyond definition

Sony has always seen beyond the standards of today—to create the standards of tomorrow. Way back in the 1980s, we produced the world's first commercial HD production system. In 2005, we built the world's first commercial 4K projectors. Today, we offer production in HD, 2K, 4K, 6K and even 8K with the remarkable F65.

The Universal release, A Million Ways to Die in the West was shot in Santa Fe, New Mexico on F55s. According to DP Michael Barrett, "What I most appreciate is that these cameras enable a cinematographer to reflect less on technology and more on how best to tell a story."

Digital unchained.

All too many digital cameras lock you into a single lens mount, a single recording system or a single shooting style. Sony CineAlta® cameras deliver mind-bending versatility. The F55 and F5 already record to four different codecs. And they'll add two more—Apple® ProRes 422 and Avid DNxHD® recording—via the CBK-55PD encoder board, sold separately, coming January 2015. The total range of bitrates varies from a utilitarian 50 Mbps all the way up to a magisterial 960 Mbps with the docking AXS-R5 recorder. Sony gives you options to mount cine lenses, SLR lenses or broadcast lenses—all on the same camera body. The F65 and F55 can even support 4K live production, complete with remote camera control, live switching and instant replay.