F55 CineAlta 4K the future, ahead of schedule
Delighting the director of photography is a major Sony design goal. But with the F55, it’s just the
beginning. The camera’s robust, practical workflows will also delight DITs, editors, colorists and
visual effects supervisors. Your team will benefit from fast file transfers, sensitive color handling,
and growing compatibility with many of the production community’s favorite tools for dailies,
editing and color correction.
WORKFLOW
Choice of recording formats
While the F55 offers the option of glorious 16-bit 4K RAW recording, not every production is prepared to take
advantage. That’s why the camera offers not one, but five recording formats at an incredible range of
bitrates from 50 Mbps to 960 Mbps (at 24p), for images from HD to 2K to 4K. (2K available with the free v1.3
upgrade, expected September 2013.) You can choose the image type, codec, processing complexity
and file size that match the needs of each project.
* Compared to previous professional AVC Intra-frame only encoding.
NOTES: XAVC recording at 4K and QFHD resolutions is available on the F55 only. Information as of March 31, 2013.
4K/2K RAW recording option
Conventional HD recording requires the image sensor signal to go through a demosaicing process,
gamma encoding, bit depth reduction and a color matrix—“baking in” many decisions that may be
better left for post. RAW recording requires none of these, preserving more of the original camera signal for
maximum image quality and maximum flexibility in post. Sony’s optional AXS-R5 Access Memory System
recorder offers all of these benefits. But even among today’s RAW recording systems, the AXS-R5 stands apart.
• 4K RAW. Capture maximum resolution, preserving the greatest latitude for color correction and
other post processes.
• Derived 2K RAW without windowing. Unique to this process, there is no line skipping or
sensor windowing. So there’s no crop factor, no loss in angle of view. 2K RAW is a smart choice for
HD productions and it’s just one quarter the data of 4K RAW. (2K RAW with free v1.3 upgrade,
expected September 2013.)
• 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.
• 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 easier conforming in post, you get
the same start and stop frames on both versions.
To support the tremendous bitrates of 4K RAW recording, Sony created the AXSM Access Memory System,
which includes the AXS-R5 recorder, AXS-512S24 memory card and an affordable USB 3.0 reader, the
AXS-CR1. Once on a PC, F55RAW files can be screened using Sony’s free RAW Viewer software.
AXS-R5 RAW recorder. This low-profile module fits on the back of the F55, matching the camera body
in height and width.
• Records 16-bit linear RAW in 4K (4096 x 2160) or 2K (2048 x 1080) (2K with the free v1.3 upgrade
expected September 2013)
• Base frame rates of 23.98, 24, 25, 29.97, 50 and 59.94p
• 4K Slow & Quick motion with selectable frame rates from 1 to 60 fps (with the free v1.4 upgrade,
expected December 2013)
• Affordable 2K RAW recording retains 16-bit linear performance at just one fourth the data of 4K RAW
(with the free v1.3 upgrade expected September 2013)
• 2K High Frame Rates: 120p, 180p and 240p (with the free v1.3 upgrade expected September 2013)
• 2K Slow & Quick motion with selectable frame rates from 1 to 240 fps (with the free v1.4 upgrade,
expected December 2013)
• Live demosaiced output provides a closer-to-RAW image for outboard monitors and recorders;
HD-SDI 4:2:2 10-bit signal with S-Log 2 encoding to protect highlights and shadows
• 1:3.6 compression
• Docks on the back of the camera and provides a V-mount for the battery
• 22 Watts power consumption
AXS-512S24 memory card. The AXS-R5 records onto this rugged, compact card.
• 512 GB* capacity, which equals up to 60 minutes of 4K RAW and up to 240 minutes of 2K RAW recording
• 2.4 Gigabits per second (300 MB/sec) write speed
• 1.95 Gigabits per second (250 MB/sec) read speed
• exFAT file system for near-instant mounting on a computer
• Small and lightweight; 2-3/8 x 3-1/4 x 3/8 inches (60 x 81 x 9.4 mm)
* 1 GB equals one billion bytes, a portion of which is used for data management functions.
AXS-CR1 USB 3.0 card reader. Fast and simple, the reader connects directly to compatible computers
via USB 3.0 (cable sold separately) and requires no driver installation.
• 1.95 Gigabits per second (250 MB/sec) read speed
• Transfers 4K at 1.9x real-time (60 minutes of material transfers in 32 minutes)
• Transfers 2K at 7.5x real-time (60 minutes of material transfers in 8 minutes)
• No driver software required with Macintosh® and Windows® computers, thanks to exFAT file system
• USB 3.0 interface for direct connection to many Macintosh and Windows computers
• Read, erase and salvage functions (no writing)
On-board 4K recording
As 4K RAW recording gains popularity, a curious fact remains. There’s never been a camera with on-board
4K RAW recording—until the F55. This is a next-generation camera, featuring high-data-rate on-board
recording of XAVC 4K today and 180 fps XAVC 2K/HD with the free v1.4 upgrade, expected December
2013. Pulling off this feat required advanced codec technology (a 4K implementation of Sony’s XAVC
system) plus upgraded recording media (a high-speed version of Sony’s highly-regarded SxS® PRO cards).
SBP-128B and SBP-64B SxS PRO+ memory cards. Presenting the new generation of Sony’s sleek, thin and
extraordinarily rugged memory cards.
• Sustained data rate of 1.2 Gbps, compared to 400 Mbps for conventional SxS PRO cards
• Peak data rate of 1.6 Gbps
• Compatible with all previous cameras, decks and card readers that feature an SxS card slot
(at conventional read/write speeds)
• 128 GB* card has the following recording capacity:
o
o
o
o
o
Up to 20 minutes of 4K XAVC at 60p
Up to 50 minutes of 4K XAVC at 24p
Up to 60 minutes of HD XAVC at 60p
Up to 150 minutes of HD XAVC at 24p
Up to 240 minutes of MPEG-2 HD422 at 30p
• 64 GB* card has the following recording capacity:
o
o
o
o
o
Up to 10 minutes of 4K XAVC at 60p
Up to 25 minutes of 4K XAVC at 24p
Up to 30 minutes of HD XAVC at 60p
Up to 75 minutes of HD XAVC at 24p
Up to 120 minutes of MPEG-2 HD422 at 30p
• Data error correction defends against playback glitches
• Power failure management protects your recording in the event of battery or power switch mishaps
* 1 GB equals one billion bytes, a portion of which is used for data management functions.
SBAC-US20 card reader. The higher-speed cards perform best with a higher-speed reader.
• USB 3.0 interface for direct connection to compatible Windows® or Macintosh® computers
• Peak read speed: 1.6 Gbps
• Sustained read speed: 1.2 Gbps
• Compatible with SxS PRO+ cards in addition to legacy SxS PRO and SxS-1 cards
PVM-X300 4K monitor. This remarkable monitor is the perfect production companion for the F55’s 4K onboard recording.
• 4K resolution (4096 x 2160) at up to 60p
• Direct connection from the F55 via four 3G-SDI terminals, for real-time, pixel-for-pixel 4K monitoring
• Docking adaptor, sold separately, plays back SxS PRO+ media files recorded with the F55’s XAVC 4K
codec
• 30-inch screen (viewable area, measured diagonally) is light enough for field production
• 10-bit panel with LED backlighting
• In-plane switching (IPS) for wide viewing angle
• HDMI® v1.4 x4
• Simultaneous display of four HD images
• 2K/HD zoom
• Camera assist function
The PVM-X300 monitor accepts four 3G-SDI outputs from the F55 for real-time 4K monitoring and playback. But you don’t need the
camera to play back. When furnished with an SxS card adaptor, the PVM-X300 will also play back XAVC 4K recordings from SxS cards.
ACES color management
In a perfect world, the colors you intend would be the colors your audience sees, whether in a movie
theater or at home. The F55 can achieve that goal thanks to the Academy Color Encoding System (ACES).
ACES was created by the Science and Technology Council of the Academy of Motion Picture Arts and
Sciences (AMPAS). The ACES color workflow holds tremendous promise because it clears away so many
stumbling blocks.
• Overcomes the performance limits and potential ambiguities of previous interchange formats.
• Establishes a common playing field for images of different origins (including film scans, digital
cameras and CGI).
• Achieves consistent appearance across different toolsets.
• Enables reliable interchange of elements among multiple service providers.
• Retains maximum headroom for color grading.
• Delivers consistent results across different distribution technologies.
• Anticipates future camera and display technologies thanks to 16-bit storage that preserves more
tonal values than the human eye can differentiate.
The 16-bit linear RAW capture of the F55 is the ideal point of entry into the 16-bit linear ACES workflow.
The versatile XAVC codec
To create the F55, Sony embraced an approach we called “completely new everything.” During the twoyear development process, we created a next-generation image sensor, a fresh generation of SxS® cards,
an innovative outboard RAW recorder, and even a next-generation compression system. This is the XAVC
codec, which Sony created to accomplish several key missions:
• Supports higher-than-HD resolutions, including 2K (2048 x 1080), QFHD (3840 x 2160) and 4K (4096 x
2160). (2K available with v1.3 upgrade, expected September 2013. QFHD available with v1.4 upgrade, expected December 2013.)
• Supports 10-bit precision, for superior color gradation compared to 8-bit systems.
• Supports high bit rates to a maximum of 960 Megabits per second. This was particularly crucial for
High-Frame Rate recording and Sony’s Slow & Quick motion (overcranking and undercranking).
• Anticipates the trend in CMOS image sensors toward higher resolution and higher dynamic range,
requiring higher recording bitrates.
• Leverages the declining cost of computer processing power and data storage.
In many respects, the XAVC codec is a straightforward outgrowth of industry standards. This Intra-frame-only codec is firmly rooted in the industry-standard H.264/MPEG-4 Advanced Video Coding technology that
Sony helped develop. The XAVC codec specifically complies with H.264 level 5.2. The codec also encapsulates video essence in an industry standard MXF OP-1a wrapper.
Under the hood, two technical features distinguish the XAVC codec.
• The bitstream includes Sequence Parameter Set (SPS) and Picture Parameter Set (PPS) bits, enabling
the recorder to dynamically optimize the picture of each individual frame. The optimized image setting remains attached to the picture even after editing.
• Sony’s multi-pass encoding includes a clever pre-coding mechanism. This enables more refined bit
allocation based on human visual characteristics and superior multi-generation performance, compared to previous professional AVC Intra-frame only encoding. The pre-coder is a crucial advantage
in high-frame rate and 4K recordings.
Sony’s pre-coder circuit enables multi-pass encoding, for superior performance compared to previous professional AVC Intra-frame
only encoding.
The F55 incorporates the XAVC codec in an exclusive, custom-built chipset of amazing versatility. It also
performs MPEG-2 HD422 and SR File processing, while keeping power consumption low. (SR File available
in v1.2 upgrade, expected July 2013.)
Simultaneous recording
In today’s fast-paced, high-pressure production environment, editorial sometimes needs to get working
at the earliest possible moment. Sony understands. That’s why the F55 performs simultaneous recording.
Instead of requiring you to patch together a science project, Sony provides a coordinated “off-line, on-line”
workflow. For easier conforming in post, you get matching start frame and stop frame in both versions.
Simultaneous RAW and SxS® recording enables you to consider the RAW file as camera original negative
and the SxS file as your workprint, immediately ready for editorial.
The F55 (unlike the F5) can also record two different codecs simultaneously to a single SxS PRO+ card.
Optical disc backup and archiving
While the F55 records onto memory cards, Sony understands the need to offload your productions onto
affordable storage media. Fortunately, the F55 works beautifully with Sony optical disc systems for backup,
archiving, playback and program exchange.
• Sony Professional Disc™ media has a track record for reliable storage in the harshest of field
conditions. It’s also accepted by thousands of XDCAM® HD decks and thousands more XDCAM HD drives.
o For XDCAM HD 422 files. Files captured as 50 Mbps MPEG-2 422 are fully compatible with XDCAM
HD systems. Simply drag & drop files onto the clip folder of Professional Disc media. The result is
a bit-for-bit copy that will play on XDCAM HD decks and read on XDCAM HD drives. You even get
XDCAM 2 Mbps proxy video, which is generated automatically as you copy. This solution is perfect
for playing back, archiving and delivering HD projects.
o For data backup of other files. You can use Professional Disc media as pure data storage for
F55RAW, SR File and XAVC files
• Sony Optical Disc Archive (ODA) cartridges hold up to 1.5 Terabytes1 of data in compact,
handheld format. Each cartridge contains 12 data discs, organized as a single volume. Unlike
generic data storage systems, Sony ODA systems have utilities for managing audio/visual content.
You can use our Content Manager to back up MPEG-2 and XAVC for archiving, restoring and
delivery to clients. The system automatically generates metadata, including browse-able proxy
video and thumbnail pictures. You can also use ODA cartridges to back up F55RAW files as data.
1. One terabyte is a trillion bytes, a portion of which is used for data management
The F55 works beautifully with Sony Professional Disc media (left) and Sony Optical Disc Archive cartridges (right).
MPEG-2 HD workflow
Launched with Sony’s XDCAM® HD system, the MPEG-2 HD422 codec at 50 Megabits per second is an
industry workhorse. It’s the go-to format for reality TV, network news, sports and many other genres. It’s an
accepted format, receiving the formal blessing from many of the world’s most demanding broadcasters
and channel operators. And it’s a compatible format, with near universal support from third-party system
vendors.
The codec is in such widespread use because it combines full HD resolution, vivid 4:2:2 color and relatively
lightweight files at a modest 50 Mbps. It’s optimized for fast PC processing, modest storage cost and easy
network file transfers.
Files recorded in the MPEG-2 HD422 codec play back easily on Sony’s Content Browser software on both Windows®
and Macintosh® computers.
XAVC workflow
The XAVC codec delivers powerful advantages, including beyond-HD performance in resolution and
frame rates, as well as the subtle grayscale rendition of 10-bit precision. Even in early days, the XAVC
codec is supported by a broad range of third-party workflow vendors.
Sony’s Content Browser software plays back files recorded in the XAVC codec on both Windows® and Macintosh®
computers.
SR File workflow
The SR File brings the legendary image quality of HDCAM-SR recording into the file-based, direct-to-edit world.
As a presence throughout Hollywood postproduction and a force in television program exchange, the SR File
system enjoys widespread third-party support. (Available with free v1.2 upgrade, expected July 2013.)
F55RAW workflow
F55RAW files take advantage of the trail already blazed by Sony’s F65RAW format. The F55RAW files use the
same Sony RAW Viewer software, plus many of the same third-party solutions for dailies, editing, finishing
and visual effects.
Sony’s RAW Viewer software makes it easy to view and back up F65RAW, F55RAW and F5RAW files.
You can also check highlight handling, scrutinize image noise and select takes.