The F65 is a top-end motion picture camera. It features a true step-change in sensor technology, using a 20.4 Mega pixel CMOS sensor and a unique Double Bayer pixel orientation for full green resolution. The F65 runs up to 120Fps, creates HD/2K or genuine 4K resolution (4 times HD) images with a wide colour gamut, excellent dynamic range, and high sensitivity.

A dockable SRMemory recorder attaches to the camera to record directly on to an SRMemory card of 256 GB, 512 GB or 1TB capacity with data security at 5 Gbps.

Super 35mm CMOS sensor with 20.4 Mega pixels

The F65 features superb image quality in HD/2K and True 4K. A unique Double Bayer pixel orientation with double the number of green pixels to red or blue pixels makes the camera especially sensitive and ideal for visual effects and green screen work. There is a choice of format composition as required, including 1.85:1, 1.78:1, 1.66:1, 1.33:1, 2.35 spherical, 1.3x anamorphic, or 2x anamorphic cropped. The F65 has a wider dynamic range, better S/N ratio and higher sensitivity than the F35 camera. It offers filmic colour reproduction with a wide colour gamut.

Compact and light-weight

Smaller and lighter than the F35, the F65 allows for even easier handling for applications such as Steadicam.

Records on to SRMemory with dockable SR-R4 SRMASTER Portable Recorder

The SR-R4 is a 4K recording system specifically designed for Sony’s new top-of-the-line F65 cinematography camera. It takes full advantage of the ultra high-speed SRMemory platform to record super-rich RAW data from the F65 at speeds as fast as 5 Gbps.

SRMemory is unique – nothing can match its combination of capacity, sustained data throughput, security and portability. It opens up completely new ways for end-users to work. With huge transfer speeds up to 5 Gbps, SRMemory media also has massive capacity up to 1TB for long recording times.

Wide range of interfaces for on-set workflow

The F65 provides 16bit RAW output (19Gbps) compressed to 5Gbps for recording onto SRMemory in the dockable SR-R4. Other interfaces include HD-SDI and HD viewfinder output with LUT, camera remote connector, LAN connecter and ARRI Lens IF.

Rotary shutter

The rotary shutter eliminates the rolling-shutter effect common to CMOS sensors.

Built-in ND Filters

Four Neutral Density Filters are built-in.

Render Module

The SR-R4 docks directly to the Sony Render Module, which performs real-time double de-bayering of 16 bit RAW data shot using the F65 camera. Provides signals in 4K: 444/422, 10/12bit, 24P to 60P. It can also produce 2K/HD ultra-high quality output from the down converted 4K original.

Records at up to 120 FPS

The camera features higher frame rate recording up to 120P, which is especially useful on productions such as commercials that require a slow motion effect.

I guess someone was bound to do such a comparison but sadly for Canon it shows up it’s major flaws quite dramatically to the extent that “Canonites” …those who revere the 5D2 are rather taken aback by how bad their camera really is under “normal” circumstances. This is an article produced by Mike Seymour who is not out deliberately to bad mouth the Canon.

Mike “As part of our Red Centre Podcast coverage we want to share this clip with you that compares the Canon 5D Mk II and the new Sony F3. In this test, both cameras were attached to the same tripod locked together – and then panned over the same technical background. The results show the F3 recording a considerably better rolling shutter and the benefit of the F3 not line skipping. The 5D – while having a very high resolution sensor – reduces this image to 1920×1080 in a very abrupt way. So while the larger sensor gives the cinematographer a shallower depth of field, – the poorer technical down res-ing produces some really unwelcome artifacts.”

Of course, the 5D does manage to produce good shots every day around the world. Our intend here is is to highlight the technical issues and allow the cinematographer to shoot knowing the issues and the risks. Click here for a 100meg HD mov sample

Click on this link…  http://www.sonycreativesoftware.com/buy/vegaspro?keycode=64412

Sony Professional has unveiled its first European Customer Experience Centre at its offices in Basingstoke, UK. The new resource will allow visitors to gain an understanding of the latest broadcast solutions in a relaxed and comfortable setting reflecting the work Sony is doing to ensure that the customer is at the heart of its propositions. The centre boasts a state-of-the-art 3D broadcast training facility, ensuring that stereographers and camera operators are equipped with the skills required to ensure that live broadcast 3D is a success.

The Centre is equipped to demonstrate the Sony ‘lens to living room’ story. The sizable training area contains 3D rigs and camera systems allowing users to learn how to capture the best 3D footage while dealing with issues such as changes in lighting, temperature and speed of action.  A section of the main lounge is set up as a production gallery, enabling visitors to experience the MPE-200 multi format processor box, which is central to the production of high quality live 3D. Customers are then able to view the output of their work in the lounge area where professional 3D monitors and consumer 3D BRAVIA televisions are set up.

Aside from 3D solutions, visitors will also be able to experience a fully functional TV production gallery including the latest switchers and Sonaps system. A further demonstration area will allow customers to get to grips with the latest software offerings, including XDxchange, Media Backbone and Ensemble. As well as the static broadcast solutions, customers are able to visit the Solutions team, who are responsible for large scale broadcast transformation projects as well as the design, fitting out and testing of Outside Broadcast trucks.

David Bush, Director of Marketing, Sony Professional, commented; “Until now our ability to demonstrate a functional broadcast workflow to customers has been restricted due to the space and equipment requirements. This new Experience Centre will change that, allowing us to work with our customers to understand the issues which they face and working collaboratively to solve them.”

Bush, went further; “We know from the Sony 3D Technology Centre in Culver City, USA, that customers are appreciative of being able to experience equipment and improve their skills in a comfortable, relaxed atmosphere. We hope that our European customers will gain the same benefits, from this, our first Customer Experience Centre in Europe.”

An exciting extension to this Centre is the upgrade taking place in the current Studio+ facility.  This area is being transformed into a fully fitted cinema complete with 2K, 4K and 3D projectors.  This project is due for completion in January 2011 and will complete the Sony Professional Customer Experience Centre.

While I was at IBC during the year Sony had a prototype shoulder mount 3D camcorder sitting in a glass case, there was no price or availability, this professional Full HD 3D camcorder features four SxS memory slots, left and right channel HD-SDI outs, and a dial for adjusting the point of convergence, extremely important when shooting professional 3D videos.

Alister “One of the tests I did with the PMW-F3 in Oslo was to look at the cameras noise and grain. There was nothing sophisticated about the test, simply shooting a few clips with the gain set at 0db, 9db and 18db. You can see the results on the left. I had to blow up the image by 200% as at 100% you could barely see any difference.

Even at +18db the noise level is remarkably low and I would not be afraid of using 18db of gain if I needed to. This lack of noise is one of the benefits of a large sensor with big pixels”.

Funnily enough when Philip Bloom and myself were looking over the Sony F3 at the London launch a couple of weeks ago Phil noticed that the camera was set to 12db to which I never paid much attention to at the time but looking back on it and the footage we shot on the day it was remarkably noiseless.

I have to agree with Alister’s findings that this camcorder even at 18db is unreal, I have never seen a camcorder to date that will give you usable pictures at 18db and if you are shooting low light moody productions this camcorder will fit the bill.

When it comes to choosing one of the new cinematic camcorders it’s a hard choice, depending on your finances. On the one hand we have the Sony F3 Super 35mm sensor and on the other hand we have the Panasonic AF101 micro 4/3″ sensor.

The choice is not as simple as it may first appear, the Sony certainly has the better sensor and at 63dB a fairly noiseless sensor so why would you choose the Panasonic ?

Firstly the Panasonic is three times cheaper than the Sony so if budget is your driving force there is no competition. Secondly the Panasonic has a far better choice of lens adaptors from PL, Nikon and Canon in fact speaking to Mike Tapa only today he tells me that he has had a run on his PL to micro 4/3″ adaptor.

I met up with Mike recently on my way down to London and he told me that the Panasonic AF101 has brought a great amount of interest in his micro 4/3″ adaptors, from dealers worldwide to individuals making sure they have the correct adaptor in place when they purchase the AF101. Strangely he has had more interest in PL mounts than Nikon which surprises me as the Prime Lens route is a dear one, it also tells me that DPs are taking this camera seriously.

The Sony F3 gives you two mounts effectively, a PL mount and if you take this off the camera you are left with a new “F” mount which is a natts whisker short of a standard EX mount except with the electrical contacts in a different position and a small pin that locates with a cutout in the top lens mount flange.

Both cameras suffer from bad viewfinders though the Sony is a tad better than the Panasonic, it’s my biggest bug bear with these camcorders I can’t understand why Sony & Panasonic put such bad viewfinders on a shallow depth of field camera when focusing is far more critical than with a conventional camcorder. Future cameras in my opinion should offer you Hi-Rez viewfinders even if it’s an optional extra.

Both cameras offer similar features from 1080 50i to 720 50p and 25/24p, the Sony records at 35Mbs while the Panasonic is 24Mbs both have HD SDI out giving you 4:2:2 and the F3  having a dual link HD SDI option that with an upgrade will give you 1080 50p 4:4:4 into an external recorder.

Two DPs I know are committing to the Sony F3, Alister Chapman and Paul Joy. Alister has just finished an initial review of the camcorder…

Alister  ”This is NOT as big as the frame of a full frame 35mm DSLR (Canon 5D) or 35mm SLR camera. It is closer to an APS-C sensor in size. This is important, because if you want to use PL mount lenses designed for super 35mm film you need this size of sensor, any bigger and you would get a fall off in performance at the edges and possibly some vignetting. Why do you want such a big sensor? Well the larger the sensor, the shallower the depth of field for any given field of view. In 2D film making it is traditional to use the difference in focus between background and foreground to give a scene a sense of depth, this is part of the “filmic” look that many video makers aspire to.

A further advantage of this low light performance is that you can use very low levels of gain or amplification to get a decent picture. Consider a stereo sound system or even an ipod. Pause the music and turn the sound up high… what do you hear? Hiss!  The hiss is the electrical noise generated in the system, the higher the gain or volume, the greater the noise. It’s exactly the same with video cameras. If you have a camera with a sensitive sensor you don’t need to have lot’s of gain (volume) to produce a bright picture and once again this is evident in the F3′s beautiful images which have extremely low levels of noise and grain. At 0db it’s all but impossible to see any noise in the pictures from the PMW-F3. Even switching the gain all the way up to +18db the image is still remarkably clean and I would, for the very first time be happy to use an F3 with +18db gain for a paying production, if needed.”

To read Alisters conclusions go to…http://www.xdcam-user.com/?page_id=1182

As well as myself I also know of many more DPs committing to the Panasonic AF101 so whats the draw ? Well I can only come at it from my own point of view, I run a small production company and we do a lot of interviews which are partly spoiled by drab backgrounds, there is a limit to creative lighting and even with a 2/3″ camera you can’t exclude some backgrounds as the room is often to small. In a lot of medical interviews you have to work with what you are given, consultants time is like gold dust.

This is where the AF101 comes in the shallow depth of field will give me the shots I have been craving for over the last few years, 35mm adaptors were far to cumbersome and by the time you add the prime lens took up far too much room so why did I not revert to the Canon 5D2…simple…little to no control over focus, if you interview a doctor and get it wrong you may not be allowed a second chance and it erodes your reputation.

I take on board that the AF101 may not be as good as the Sony F3 but I have invested in a Sony PMW-350 only last year which is a cracking camcorder and I am not about to throw that up in the air nor can I afford the asking price of the F3. At £4000 the Panasonic is affordable and leaves me plenty of change for batteries, lenses and adaptors. I own some sexy Canon “L” glass and look forward to using it on my AF101 in fact a company in the USA is bringing out a fantastic adaptor early next year that will blow your socks off…I kid you not. The Canon adaptor alone is worth owning the Panasonic AF101.

So that’s my take on the AF101 if money and the price of PL glass was not an option I would plum for the F3 but each to their own, one thing that’s clear is that there is a market for both filmlike camcorders and the professionals like me who never took to the HDSLR are being given a bite of the shallow depth of field cherry with cameras that have all the functionality of what we are used to and the added bonus of minus the pitfalls of the HDSLR.

This is Rick Young from MacVideo who also attended the Sony F3 press launch and during the day caught up with me for an interview.

Click here  http://www.macvideo.tv/camera-technology/interviews/index.cfm?articleId=3249788

Sony invited me to London to get a hands on with the PMW-F3, no holes barred, I stuck my SxS card into slot one and Mr Bloom recorded me doing a piece to camera.

The frame grab below is from the SxS card and as you would expect it’s not a million miles away from the quality seen from any 35Mbs SxS footage, this proves that filming in SxS mode you are producing nothing better than an EX1R/EX3 can produce but with less noise and the shallow depth of field.

My main concern is the viewfinder, most DPs I know would not be happy with such a basic viewfinder, it’s just not good enough to see critical focus though Philip Bloom used what he called a “push in” where you press a button and it magnifies the picture on the LCD.

Sony did not take a leaf out of RED’s book when producing this camera and it’s viewfinder yet if they had only given us a connector to which we could attach a choice of viewfinders of varying qualities and prices. Sony’s reply would be the camera is made to a budget. My reply is that if you are going to use such a camera even as a “B” camera to an F35 then you must be able to see critical focus.

The EX3 was produced with a splendid viewfinder carried onto the PMW-350 yet a camcorder capable of so much more is compromised due to such a basic need as a decent Hi-Rez viewfinder, fortunately Sony have a fantastically sharp LCD monitor the PVM-740 OLED.

Both Philip Bloom and myself are of the opinion that the F3 would have been far better received if it had 50Mbs, 4:2:2 rather than 35Mbs 4:2:0. Cameramen as a rule do not like add on’s like NanoFlashes if we can avoid them, it’s not the NanoFlash itself but the fear of something going wrong between the camera and the external recording device being used.

When you see this camera beside the F35 and 9000 you can’t quite see the logic in Sony making it so small after all once you put your prime lens on the front you are not going to use it hand held if you can avoid it but I for one see it as a refreshing alternative to a 650 with 35mm adaptor.

The F3 can produce cracking 1080 50p 4:4:4 pictures but again uses the dual link HD SDI sockets and a payed upgrade into an SR Memory recorder, all these options cost a lot more money.

Paul Joy a film maker was taken by the fact that if he owned the F3 he could use it in many guises, corporate one day and ENG the next using the new zoom lens…this lens will not be previewed till April 2011 which means availability not till June 2011. Why ?

Sony must have known this camera was going to have a zoom control why did they not have a working zoom lens available with the launch of the camera, I would be stuck not having a zoom lens for my F3 from day one as most of my work does not involve prime lenses nor do I own any unless you count my Canon “L” glass.

This brings me onto my last topic, prime lenses ! Not everyone is going to use expensive PL mount lenses on their F3 so Sony had better contact Canon and Nikon adaptor manufacturers if they want a bigger audience to sell this camera to.

The F3 looks the business and will be a refreshing alternative within Drama, no more 35mm adaptors and oversized camcorders taking up excessive room, I think DPs will take to this camera like a duck to water and if Creative Video’s pre order for 100 units is anything to go by it’s a definite winner from day one.



This was the big surprise in London’s Press launch of the new Sony F3 FilmLike camcorder, after the formal presentations talking about the F3 and showing some footage we were invited to a world exclusive, the launch of the Sony NXCAM Super 35mm camcorder at a tentative price of €6000 that’s surprise, surprise £4000.

SONY’S PR

Sony Professional today announced that it is developing a new type of E-mount 35mm camcorder. Aimed at professional cinematographers utilising a Super-35mm large format CMOS sensor, this new camcorder will become one of the new models in the “NXCAM” line-up. Available early summer of 2011, it targets the expanding entry-level digital cinematography market.

Sony Professional is already a key player in the 35mm digital cinematography market with the highly acclaimed “Cinealta” F35 and SRW-9000PL for high-end digital cinema production. Sony has also just strengthened its line-up in this category with the recent PMW-F3 camera, combining performance and price in a powerful and affordable production tool. With this latest “NXCAM” HD camcorder, Sony looks to further strengthen its position in the entry-level segment. The new model provides an affordable yet highly capable professional solution for many applications, including independent film, pop promotions and corporate communications all looking for a cinematic look to their content.

The “NXCAM” HD camcorder under development will be equipped with a Super-35mm sensor, a widely used stock size in the film industry, perfectly designed for capturing motion pictures. This new sensor will have extraordinary performance in terms of picture quality and sensitivity, and is able to offer depth of field control and flexibility with a wide range of lens options available.

The adoption of the E-mount interchangeable lens system means that it is identical to the “α” series lens system used on the NEX-5, 3 and NEX-VG10, current and future E-mount lenses will be compatible with this new camcorder. In addition, a very short flange back distance (the distance between lens mount surface and sensor surface) allows various A-mount lenses be mounted via a lens adaptor (LA-EA1). Furthermore, it is also possible to attach a range of other lenses using third-party lens adaptors. With such flexibility, users will be able to experiment with various creative expressions by exploiting the characteristics of different optics.
The recording format for this new HD camcorder will be AVCHD, widely supported by many NLE software vendors and the same format as the HXR-NX5E NXCAM camcorder.
There is also a plan to implement 1080p ( 50p / 25p) recording modes.
(MPEG4-AVC/H.264 compression will be used for these modes.)
*2: 59.94p / 29.97p / 23.98p respectively.

I will bring you a full report tomorrow from the London show.

Sony NXCAM HD Teaser Trailer from H. Paul Moon on Vimeo.