Up to 120 frames per second
To support slow motion and fast motion, the F65 provides over- and undercranking at frame rates of 1 to 60 frames per second (4Kx2K resolution), and up to 120 frames per second (4Kx1K resolution). In both modes, you get high-speed shots without “windowing,” crop factor or change of effective focal length.
The curved housing accommodates Sony’s optional Rotary Shutter.

Rotary shutter option
Typical CMOS sensor cameras are prone to “rolling” shutter defects, where the exposure timing of each row of pixels is slightly offset from the next. Row after row, these differences can trigger geometric distortion in moving objects or camera movements, particularly visible in the horizontal movement of objects with strong vertical lines. Rolling shutter artifacts are especially troublesome in 3D mirror rigs, where one camera is upside down. The artifacts in the left camera don’t match those in the right, causing unwanted disparities. Rolling shutter also incurs “flash banding” where a strobe light illuminates only a horizontal band across the frame. As with other Sony cameras, the F65 uses an advanced CMOS design to reduce rolling shutter artifacts to a bare minimum.

SRMASTER™ recording
While others design cameras, Sony designs comprehensive production systems that anticipate your needs from the set to postproduction, delivery and archiving. That’s why the F65 camera is designed to work with the docking SR-R4 SRMASTER 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 includes field recorders, studio decks, a transfer station as well as the SRMemory cards.

The SRMASTER system represents a significant in advance in two distinct production styles: episodic TV and cinema.
For episodic television: SR CodecThe tyranny of the weekly schedule imposes unique production requirements on episodic television.
Under this time-is-money pressure, the SRMASTER system thrives thanks to Sony’s SR Codec.

• Well-established postproduction system that’s already a fixture in high-end facilitiesall over the world via the HDCAM SR™ tape format
• Virtually lossless and visually lossless recording at 440 and 880 Mbps plus space-saving 220 Mbps SR Lite
• Choice of 4:2:2 YCbCr or 4:4:4 RGB recording
• Superb grayscale rendition with 10-bit and 12-bit recording
• 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
• For cinema: 16-bit linear RAW recordingFor music videos, commercials and feature film production, the SRMASTER system delivers stunning image quality and flexibility of 16-bit linear RAW recording.
• Preserves the full quality of the original captured image, including the full resolution of 20 million photosites
• Flexible demosaicking “develops” the latent RAW image into RGB output files
• Your choice of resolution: gloriously supersampled HD, supersampled 2K, true 4K or even 8K
• Maximum image quality for vigorous color correction and grayscale enhancement
• Incredible resolution for compositing at the very highest quality
• Overhead resolution for punching in and motion stabilization in post
• Flexibility to extract 4K, 2K, and HD quadrants from the full-resolution image

4K is just the beginning
The F65 exceeds the resolution of any previous digital motion picture camera (as of August 2011), the result of a remarkable Sony Super 35 image sensor. Sony has been developing semiconductor image sensors since 1973 and manufacturing commercial quantities since 1985. Through all the decades, our design goal has always been to match the photographic quality of 35mm film. But now we’re setting our sights even higher: to surpass the limits of human vision. The F65 image sensor is the first of this new breed.
In its ability to resolve detail, to handle lighting extremes, to see into the darkness and still come up with a clear image, the F65 is blowing away veteran cinematographers and colorists. The Sony F65 is a stand-out in every one of these areas largely because the sensor incorporates technology that cannot be found anywhere else.

Exquisite supersampling HD and 2K
Even if your postproduction workflow and deliverable are currently high definition or 2K, the 20 million photosites of the F65 deliver a powerful imaging advantage. The difference is “supersampling.” All cameras deliver high contrast on large image areas. But as the detail gets finer and finer, contrast suffers. We can draw up a chart of this loss with the vertical axis representing contrast from 0% to 100% and the horizontal axis representing picture definition, which can be measured either as line pairs per millimeter (LP/mm) in the optical domain or TV lines per Picture Height (TVL/ph) in video terms.
Conventional HD cameras start at near 100% contrast and begin to drop off as the picture details get progressively finer. Thanks to the new image sensor, the F65 contrast remains strong, even in fine details. So the picture is dramatically sharper.

Choice of picture composition
The F65 adheres to the 1.9:1 aspect ratio of the DCI projection standard (4096 x 2160 or 2048 x 1080).
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.

Exposure latitude and sensitivity
Conventionally, increased resolution comes at the sacrifice of other photographic qualities. But the F65 is no conventional camera. It takes advantage of Sony’s expertise in creating ever smaller photosites with ever higher performance in sensitivity and signal-to-noise ratio. Thanks to Sony CMOS advances, the F65 empowers the cinematographer with prodigious exposure latitude, high sensitivity and extremely low noise.

Extended color gamut
In kindergarten, you probably wanted the biggest box of crayons. In digital cinematography, you definitely want it. Many HD cameras are limited to the Rec.709 color space. While this produces broadcast-legal color for television productions, it still falls short of motion picture film. The Sony F65 transcends this limitation. The camera features a new Color Filter Array on the sensor, along with a 3D lookup table (LUT) and proprietary color management systems. In this way, the F65 can shoot in either Rec.709 or F65 Gamut, which actually exceeds the SMPTE specification for color negative film in every direction.

Up to 120 frames per second
To support slow motion and fast motion, the F65 provides over- and undercranking at frame rates of 1 to 60 frames per second (4Kx2K resolution), and up to 120 frames per second (4Kx1K resolution). In both modes, you get high-speed shots without “windowing,” crop factor or change of effective focal length.
The curved housing accommodates Sony’s optional Rotary Shutter.

Rotary shutter option
Typical CMOS sensor cameras are prone to “rolling” shutter defects, where the exposure timing of each row of pixels is slightly offset from the next. Row after row, these differences can trigger geometric distortion in moving objects or camera movements, particularly visible in the horizontal movement of objects with strong vertical lines. Rolling shutter artifacts are especially troublesome in 3D mirror rigs, where one camera is upside down. The artifacts in the left camera don’t match those in the right, causing unwanted disparities. Rolling shutter also incurs “flash banding” where a strobe light illuminates only a horizontal band across the frame. As with other Sony cameras, the F65 uses an advanced CMOS design to reduce rolling shutter artifacts to a bare minimum.

We also supply complete camera kits including:

For Further Assistance

For further information please contact Protel at our Auckland or Wellington Offices.