Sony PMW F5 and F55 CineAlta 4K User Group

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  1. Carfiend -Nissan Hakosuka

    01:07

    from Bill Thomas / Added

    27 Plays / / 0 Comments

    Camera: Sony F5 filming HD in S-Log2 Lens: Nikon 17-55 f2.8 http://www.carfiend.com/

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    • KinoLUT demo (before / after)

      00:56

      from John Hope / Added

      507 Plays / / 0 Comments

      Cineplus' KinoLUT sets a new standard: the Teal-Orange look with natural skin tones. Available at www.cineplus.ch/kinolut.html

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      • Wahl clippers

        03:59

        from Overseafilms.com / Added

        Promotional video created for Wahl clippers. Shot on the Sony F5, Samyang 35mm and 85mm lenses, graded on Resolve and edited in Premiere Pro CC.

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        • ALEXA LOMO ANAMORPHIC | TEST001

          01:04

          from justin derry / Added

          371 Plays / / 4 Comments

          Shot a quick loosey goosey lens test for a music video I'm shooting this week. Chris Parente (2nd AC) and I went up to my roof top and just messed around for 30mins. Very unscientific like.…

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          • Tiger/Swan - We Don't Need Anydbody - Music Video

            03:40

            from Tiger/Swan / Added

            39 Plays / / 0 Comments

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            • Bikepark Brandnertal

              00:22

              from Roman Noestler / Added

              464 Plays / / 2 Comments

              This was my first project with the great Sony PMW F55. Logoanimation by Matthias Kiesenebner Aerial shots by Luftsicht

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              • Short Reel Skaten - shot on my Sony F5

                02:50

                from Jens-Tibor Homm / Added

                795 Plays / / 0 Comments

                gedreht auf meiner neuen Sony PMW-F5 mit 150 B/s. Musik: General Fuzz - Acclimate www.homm-film.de

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                • Hay River Fire

                  03:08

                  from Craig Kovatch / Added

                  1,755 Plays / / 2 Comments

                  This is footage of a fire that occurred at the Hay River landfill site on May 27, 2014. Dedicated to the men and women that make up the Hay River volunteer fire dept. A shout out to Code Three Films…

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                  • Haxstir Showreel 2014

                    03:50

                    from Jonathon Sendall / Added

                    244 Plays / / 0 Comments

                    New HAXSTIR showreel for 2014. Darma and Comedy at 0.11, Docs and Corporate at 0.59, Fashion and Concept at 01.53, Music Promos at 02.30, Special Effects at 03.00. Cup of tea after. Credits.…

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                    • Brigaden - Alberto IV

                      03:27

                      from Lukas Backland / Added

                      1,125 Plays / / 2 Comments

                      Music Video for 'Alberto IV' by BRIGADEN Produced and Directed by Lukas Backland Listen to the album here: http://open.spotify.com/album/3jK8FYG... https://www.facebook.com/karleksbrigaden Big…

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                      • Sony F5 SLOG2 New Zealand near Wanaka April 2014

                        01:16

                        from Overseafilms.com / Added

                        An example clip of SLOG2 on the Sony F5.

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                        • The Most Famous Ten Seconds In The World

                          00:12

                          from Jonathon Sendall / Added

                          460 Plays / / 1 Comment

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                          Sony PMW F5 and F55 CineAlta 4K User Group

                          Electric Blue Media Created by Electric Blue Media Plus

                          What we know so far:

                          Full HD & 4K
                          Super 35mm 4K CMOS Imager
                          4,096 x 2,160, 11.6M total pixels, 8.9M effective pixels, Bayer Pattern
                          High sensitivity (ISO 2000) and low noise (S/N 57dB with noise reduction off)
                          High Frame Rate of up to 120fps
                          Internal Recording to SxS media
                          Modular Design
                          RAW Recording capability to a new modular “dockable” external recorder, the AXS-R5
                          50Mb/s / 4:2:2 Broadcast Friendly HD
                          New XAVC Codec for efficient 4K
                          Shoulder Pad & Class-leading OLED HD viewfinder & mount options to provide a genuine shoulder-mount camcorder
                          Dual lens mount as standard – Arri


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                          What we know so far:

                          Full HD & 4K
                          Super 35mm 4K CMOS Imager
                          4,096 x 2,160, 11.6M total pixels, 8.9M effective pixels, Bayer Pattern
                          High sensitivity (ISO 2000) and low noise (S/N 57dB with noise reduction off)
                          High Frame Rate of up to 120fps
                          Internal Recording to SxS media
                          Modular Design
                          RAW Recording capability to a new modular “dockable” external recorder, the AXS-R5
                          50Mb/s / 4:2:2 Broadcast Friendly HD
                          New XAVC Codec for efficient 4K
                          Shoulder Pad & Class-leading OLED HD viewfinder & mount options to provide a genuine shoulder-mount camcorder
                          Dual lens mount as standard – Arri PL & Sony FZ
                          Enhanced features of the F55 (otherwise identical to the F5):
                          Higher frame rate of up to 240fps (Full HD RAW) or 60fps (4k RAW) with optional AXS-R5 recorder
                          Internal recording at up to 180fps onto SxS media using XAVC Codec (HD / 4K)
                          Simultaneous XAVC and MPEG 2 recording capability – onto the same SxS media card
                          Slightly reduced sensitivity of ISO 1250 when compared to F5
                          Global Shutter (Eliminates rolling shutter effect)
                          F65 Colour Gamut

                          Super-sampling: Spectacular HD, 2K or 4K
                          Does a 4K camera make sense in an HD world? Perfect sense. With 8.9 megapixels (effective), Sony’s 4K image sensor enables a single camera to provide gorgeous, super-sampled HD and 2K while preparing you for the 4K future.
                          Shoot, Record, Master and Distribute in stunning 4K. You’re ready for the more than 13,000 movie theaters with Sony Digital Cinema 4K projectors.
                          Shoot, Record and Master in 4K. Distribute in 2K/HD. Derive your delivery format while preserving the original as a future-proof archive. Your master is ready for future 4K release.
                          Shoot in 4K. Record, Master and Distribute in 2K/HD. Sony’s 4K sensor gives you a gorgeous, super-sampled HD picture with visibly superior texture, color reproduction, detail and high-frequency contrast that ordinary HD cameras cannot touch.
                          4K/2K RAW recording option
                          The ultimate capture system would record every nuance of light and shadow from the image sensor, preserving every detail from every pixel for full exploitation in post-production. If you want the maximum flexibility that RAW delivers, Sony’s optional AXS-R5 recorder is a remarkable new choice.
                          4K or derived 2K RAW. Capture RAW at your choice of resolutions: the camera’s native 4K or beautiful, derived 2K. RAW recording preserves the greatest latitude for color correction and other post processes.
                          Incredible 16-bit precision. By design, Sony’s 16-bit recording captures more tonal values than the human eye can differentiate. Sony RAW retains 16 times as many Red, Green and Blue gradations as 12-bit RAW and 64 times as many tones per channel as 10-bit recording. Sony 16-bit linear RAW is also the ideal point of entry into the 16-bit linear Academy Color Encoding System (ACES) workflow.
                          Comprehensive production platform. More than an individual product, the AXS-R5 is the starting point for an efficient workflow. The AXS-R5 records onto sleek, optional AXSM™ memory cards, which are compatible with an affordable optional USB 3.0 reader, the AXS-CR1. Once on a PC, the RAW files can be screened using Sony’s free RAW Viewer software.
                          Simultaneous RAW + Onboard SxS recording. Instead of requiring you to patch together a science project, Sony provides a coordinated “off-line, on-line” workflow with simultaneous recording to internal SxS cards and the optional AXS-R5 RAW recorder. For seamless conforming in post, you get matching time code, start frame, stop frame, file names and other metadata. The camera supports the following RAW + Onboard combinations:
                          4K/2K RAW + XAVC 2K*/HD
                          4K/2K RAW + MPEG-2 HD422
                          * Expected as a future upgrade.

                          Sony's USB 3.0 card reader, the AXS-CR1.

                          The future is built in
                          The Sony F5 is uniquely designed to make economic sense today, with the features you’ll need to continue generating value for years to come. Instead of locking you into a single recording system, the camera opens the door to unprecedented versatility. Consider the choice of internal recording codecs. The camera’s 16-bit Linear RAW 4K output enables Sony’s optional AXS-R5 recorder to register every nuance of color, contrast and detail from the 4K image sensor—and even record a derived 2K RAW signal. Finally, Sony’s planned firmware upgrades are scheduled to bring you even more frame rates, more operating features and more recording options in the months and years to come.
                          Vast exposure 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 F5 excels, with an impressive 14 stops of exposure latitude, extraordinary low-light sensitivity and extremely low noise in the blacks. The result? Graceful rendering of scene contrast, even in searing sunlight.
                          Viewfinders as revolutionary as the camera
                          It's ironic that with focus so critical, most operators are stuck with viewfinders and on-camera monitors that offer middling contrast and resolution. Sony changes all that with the F5. A new digital interface has given rise to a brilliant new series of viewfinders.
                          Amazing OLED: optional DVF-EL100. Don’t let the small size fool you. This 0.7-inch* viewfinder has the incredible clarity of 1280 x 720 High Definition. And resolution is just the beginning. Thanks to OLED technology, you get superb brightness, contrast and response.
                          Higher resolution, higher contrast: optional DVF-L350. Take a major step forward in operating with the incredible image of this 3.5-inch* LCD viewfinder. Compared to previous Sony finders, this one has higher resolution (960 x 540) plus ten times the contrast. And the eyepiece flips up for direct monitoring.
                          Full HD: optional DVF-L700. This compact 7-inch* LCD viewfinder enables high resolution when shooting in 2K and 4K, not to mention pixel-for-pixel 1920 x 1080 representation of your HD images.

                          Optional shoulder rig
                          Sony consulted closely with cinematographers on the ergonomics of handheld and shoulder-mounted shooting. One result was the optional Sony shoulder rig, which provides comfortable handheld operation hour after hour. The rig is sturdy, lightweight and features industry-standard rosettes on both sides for quick and easy attachment of third-party hand grips and other accessories.

                          Modularity and versatility
                          The F5 is exceptionally small, light and modular, letting you build up the right configuration for each job—or each shot. For example, you can add the optional AXS-R5 RAW recorder whenever you need it. Or go with internal HD recording whenever size and weight are the highest priority. The time code/genlock connections and XLR audio inputs are built into two modules you can add or remove as needed. Small size is particularly welcome in stereoscopic 3D shooting. The chassis is only slightly wider than a typical PL mount prime lens, perfect for both mirror rigs and side-by-side configurations.

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