Price Reduced
Sony F65
Super 35
8K Cinealta
Camera Kit
(with lots of Accessories and 5x 256Gb Media Cards)
Only 520 hrs.
Sony’s F65 CineAlta Digital Motion Picture Camera Won the Prestigious Scientific and Engineering Academy Award 2016 / 2017.
With a resolution of 20 megapixels, the Super 35mm 8K CMOS sensor inside the F65 delivers unprecedented 8K/4K/QFHD/2K/HD images with extremely fine texture and low aliasing. Even if you’re post producing for delivery in 2K/HD, this extraordinary sensor provides gorgeous super-sampled images beyond the reach of ordinary HD cameras.
With our flagship digital motion picture camera, the Sony F65, we’ve not only matched the quality of 35mm, but surpassed it!
This camera together with the accessories cost around £70,000 when new and it s had only 520 hours use!
It is in great condition and comes fully tested in perfect working order. Requires a PL Mount Lens (not included).
It has a mechanical shutter, as well as an electronic shutter.
Can a single Sony F65 be used to shoot in 16K?
Read how they did it:
https://pro.sony/en_IL/insight/cinematography-stories/broadcast-breathtaking-new-approach-16k-production-haneda-airport
The F65 CineAlta camera is the ultimate expression of the digital cinematographer’s art. Optimised for motion picture and TV production, the flagship F65 captures uncompromising images with truly breath-taking colour, depth and detail.
Items included in this sale:
Sony F65 520 hrs. with Mechanical & Electronic Shutter. February 2012. With Version 4.01 firmware.
Sony SR-PC4 with Thunderbolt and eSATA Connections or a Sony SRD-1 instead, *not both.
*(ask for extra pricing if you need both readers)
Sony SRMaster SR-R4.
Sony DVF-EL100 OLED Colour Viewfinder
Sony SRK-CP1 Control Panel
Marshall V-Lock Power Plate
3 x Sony 256Gb S15 SR Memory Drives
2 x Sony 256Gb S55 SR Memory Drives (High speed cards for full 4K RAW recording @ 5Gbps)
2 x 19mm Aluminium Rods (Long)
2 x 19mm Carbon Short Rods
2 x Hand Grips
LWS Dovetail Baseplate
Arri BP-5 Bridgeplate
1 x Cheeseplate (Top)
1 x Cheeseplate (Side)
1 x Top Handle
Connecting Cables
Custom Innerspace Flight Case with wheels.
INFO
The F65 is a top-end motion picture camera. It features a true step-change in sensor technology, using a 20 Mega pixel 8K CMOS sensor. The F65 runs up to 120Fps, creates HD/2K or genuine 4K resolution images and 8K too, with a huge colour gamut, outstanding dynamic range, and high sensitivity.
The dockable SR-R4 SRMemory unit records 16bit linear SRRAW directly on to an SRMemory card at up to 5 Gbps. This can be developed with industry-standard NLEs from companies such as Adobe, Avid, Apple, Film light, Quantel, Sony and many others. For maximum operational flexibility, the SR-R4 can also support SStP (same as HDCAM SR) recording which can be used natively on the same NLEs.
Super 35mm CMOS sensor with 20 Mega pixels
The Sony F65 features superb image quality in HD/2K, True 4K and 8K (with its 4.01 firmware upgrade). 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 14-stop latitude, high sensitivity and ultra-low noise. It offers filmic colour reproduction with an unrivalled colour gamut.
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 as 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 for recording onto SRMemory in the dockable SR-R4. Other interfaces include monitoring via HD-SDI and HD viewfinder with LUT, camera remote connector, LAN connecter, WiFi Camera Control and Cooke /i support.
Rotary shutter
The mechanical rotary shutter eliminates the rolling-shutter effect common to CMOS sensors.
Built-in ND Filters
Four Neutral Density Filters are supplied with the Rotary Shutter option.
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.
REVIEWS & DOWNLOADS
With the F65 analog film quality is really becoming digital. Using the F65 with the right lenses is giving me the opportunity to create pictures which are so clear and perfect as looking through your own eyes. if a project needs on the other hand a more analog look i can add some grain to it which makes the F65 a perfect tool for different requirements and applications.
Berti Kropac, Director of Photography, KROPAC MEDIA
ANNIE
Since we were shooting 16-bit 4K RAW, we had enormous latitude with dynamic range, color, and gamma. It was unbelievable, and I would always be shocked in certain scenarios at what the cameras could do.
Michael Grady
Cinematographer of the “Annie
LUCY
A huge draw for Luc Besson was the color fidelity and rendition of skin tones. The colors were really there; we could pick out the blue of the sweater and the carnations seemed very natural.
Thierry Arbogast,
AFC Director of Photography on “LUCY
See video: https://www.youtube.com/watch?v=pps3xnSQWq0&feature=emb_rel_end
MORE FILMS MADE USING THE F65
A Series Of Unfortunate Events
Director: Various
DoP: Various
Camera: F65
About Last Night
Director: Steve Pink
Director of Photography: Michael Barrett
Camera: F65
After Earth
Director: M. Night Shyamalan
Director of Photography: Peter Suschiztky
Camera: F65
Alice Through The Looking Glass
Director: James Bobin
Director of Photography: Stuart Dryburgh
Camera: F65
Annihilation
Director: Alex Garland
Director of Photography: Rob Hardy
Camera: F65
Beauty and the Beast
Director: Christophe Gans
Director of Photography: Christophe Beaucarne
Camera: F65
Belle
Director: Amma Asante
Director of Photography: Ben Smithard
Camera: F65
Billy Lynn s Long Halftime Walk
Director: Ang Lee
Director of Photography: John Toll
Camera: F65
Bloodline
Director: Glenn Kessler, Todd A. Kessler, Daniel Zelman
Director of Photography: Jaime Reynoso, Darren Lew
Director of Photography: David Procter
Camera: F65
Cable Girls
Director: Various
Director of Photography: Various
Camera: F65
Café Society
Director: Woody Allen
Director of Photography: Vittorio Storaro
Camera: F65
Casanova
Director: Jean-Pierre Jeunet
Director of Photography: Pierre Gill
Camera: F65
Citibot
Director: Ben Elia
Director of Photography: Phillippe Ros
Camera: F65
Cold of Kalandar
Director: Mustafa Kara
Director of Photography: Cevahir Sahin, Kürsat Üresin
Camera: F65
Deliver Us from Evil
Director: Scott Derrickson
Director of Photography: Scott Kevan
Camera: F55 & F65
Ecobot
Director: Ben Elia
Director of Photography: Phillippe Ros
Camera: F65
Evil Dead
Director: Fede Alvarez
Director of Photography: Aaron Morton
Camera: F65
Ex Machina
Director: Alex Garland
Director of Photography: Rob Hardy
Camera: F65 + F55
Gaz de France
Director: Benoit Forgeard
Director of Photography: Thomas Favel
Camera: F65
Generations
Director: Pete Farrer
Director of Photography: Nic Morris
Camera: F65
Kaos
Director: Semir Aslanyürek
Director of Photography: Yusuf Aslanyürek
Camera: F65
Kickstart Theft
Director: Fred Goodich
Director of Photography: Vilmos Zsigmond
Camera: F65
Kis Uykusu
Director: Nuri Bilge Ceylan
Director of Photography: Gökhan Tiryaki
Camera: F65
La Vénus à la fourrure
Director: Roman Polanski
Director of Photography: Pawel Edelman
Camera: F65
Le Nouveau Testament (The Brand New Testament)
Director: Jaco Van Dormael
Director of Photography: Christophe beaucarne
Camera: F65
Left Turn
Director: Mauricio Marin
Director of Photography:
Camera: F65
Les Gardiennes
Director: Xavier Beauvois
DoP: Caroline Champetier
Camera: F65
Les Saisons (Seasons)
Director: Jacques Perrin
Director of Photography: Eric Guichard
Camera: F65
Let s Be Cops
Director: Luke Greenfield
Director of Photography: Daryn Okada
Camera: F55 & F65
Lucy
Director: Luc Besson
Director of Photography: Thierry Arbogast
Camera: F65
Made in Jersey
Director: Various
Director of Photography: Daryn Okada, Bobby Bukowski
Camera: F65
Mannenharten
Director: Mark de Cloe
Director of Photography: Mick van Rossum
Camera: F65
Meme pas mal
Director: Jeremy Trequesser & Maxime Roy
Director of Photography: Xavier Bru
Camera: F65
Monkey Kingdom
Director: Mark Linfield, Alastair Fothergill
Director of Photography: Gavin Thurston
Camera: F65
Motel (The Bag Man)
Director: David Grovic
Director of Photography: David Knight/Steve Mason
Camera: F65
No Good Deed
Director: Sam Miller
Director of Photography: Michael Barrett
Camera: F65
O Tempo e o Vento
Director: Jayme Monjardim
Director of Photography: Affonso Beato
Camera: F65
Oblivion
Director: Joseph Kosinski
Director of Photography: Claudio Miranda
Camera: F65
Only The Brave
Director: Joseph Kosinski
DoP: Claudio Miranda
Camera: F65
Powers
Director: Mikael Salomon, Bill Eagles, David Petrarca, David Slade, Tim Hunter, Aaron Lipstadt
Director of Photography: Jan Richter-Friis, John Lynch
Camera: F65
Quien mato a Bambi?
Director: Santi Amodeo
Director of Photography: Alex Catalan
Camera: F65
Rebel City Rumble
Director: Stephen Lourdes
Director of Photography: Anthony Bowes
Camera: F65
Roots
Director: Geoffrey Bellhouse
Director of Photography: David Procter
Camera: F65
Sarki Söyleyen Kadinlar (Singing Women)
Director: Reha Erdem
Director of Photography: Florent Herry
Camera: F65
Save me
Director: Various
Director of Photography: Lloyd Ahern II
Camera: F65
Tears of Steel
Director: Ian Hubert
Director of Photography: Joris Kerbosch
Camera: F65
Ted 2
Director: Seth MacFarlane
Director of Photography: Michael Barrett
Camera: F65
Testament of Youth
Director: James Kent
Director of Photography: Rob Hardy
Camera: F65
The Dark Horse
Director: James Napier Robertson
Director of Photography: Denson Baker
Camera: F65
The Michael J. Fox Show
Director: Various
Director of Photography: John Inwood, Michael Grady
Camera: F65
The New Normal
Director: Various
Director of Photography: Carlos González, Michael Goi
Camera: F65
The Perfect Guy
Director: David M. Rosenthal
Director of Photography: Peter Simonite
Camera: F65
The Second Best Exotic Marigold Hotel
Director: John Madden
Director of Photography: Ben Smithard
Camera: F65
The Smurfs 2
Director: Raja Gosnell
Director of Photography: Phil Méheux
Camera: F65
The Wedding Ringer
Director: Jeremy Garelick
Director of Photography: Brad Lipson
Camera: F55+F65
Think Like a Man Too
Director: Tim Story
Director of Photography: Christopher Duskin
Camera: F55+F65
Venus in Fur
Director: Roman Polanski
Director of Photography: Pawel Edelman
Camera: F65
Wayward Pines
Director: Various
Director of Photography: Jim Denault, Gregory Middleton, Amy Vincent
Camera: F65
White House Down
Director: Roland Emmerich
Director of Photography: Anna Foerster
Camera: F65
Winter Sleep
Director: Nuri Bilge Ceylan
Director of Photography: Gökhan Tiryaki
Camera: F65
Wonder Wheel
Director: Woody Allen
DoP: Vittorio Storaro
Camera F65
What would make someone buy an F65 and not an F55?
The F65 is Sony’s flagship 4K camera and its 20 megapixel 8K sensor is designed for filmmakers looking to shoot at the absolute pinnacle of image quality.
The PMW-F55 is aimed at production companies, directors of photography and filmmakers looking to bring the power of 4K into their content from short films and music videos right up to high-end drama production. The F55, and indeed the F5, both use Sony’s XAVC open format, which bridges the gap between 4K raw and HD workflows and opens up the possibility of 4K for broadcst in the future. In short, the cameras complement each other, but address different needs and budgets.
Given some of the global blockbusters which have been filmed using the F65 since it started shipping in 2012, it’s fair to say that the camera has taken Hollywood by storm!
Can you list some recent films that have been made with the F65?
There are over 30 commercials and feature films currently in production which have shot on the F65, most notably Oblivion – the upcoming sci-fi movie shot by Joseph Kosinski, M. Knight Shyamalan’s After Earth and Amma Asante’s Belle shot by DoP Ben Smithard.
Is it easy to mix footage from the F55 and F65? Can you transfer set-up information between them?
The cameras match in terms of colour and dynamic range, so yes, it is quite easy to mix footage from the two. While you can’t transfer set-up information, the default settings for the two cameras match.
What is meant by saying that you can have an 8K output from an F65? Is this the raw output that needs Debayering? What is the actual resolution once Debayered?
Yes, this refers to the raw output of the F65, but a new RAW viewer is in the pipeline which will have at least a 6K output, even from existing RAW files.
What is the true dynamic range of raw output?
The true range of the raw output is at least 14 stops.
Sony quotes a 20 megapixel sensor for the F65 but 8K is 33 megapixels? Is the 20 megapixels the resolution after debayering?
The 20 megapixels quoted actually refer to the number of photosites on the sensor itself. Interpolation then allows us to increase the number of output pixels for 8K to 33 megapixels.
What is the advantage of a mechanical shutter in the F65 over the F55’s electronic global shutter? Is it mainly dynamic range?
The main advantage is that a mechanical shutter gives exactly the same motion blur as a film camera, giving the shots a cinematic quality. In addition, it also ensures the retention of full sensitivity of the sensor.
Sony makes its own sensors. What are the advantages that this gives Sony, compared to the companies that don’t make their own?
Fundamentally, it’s a matter of quality control – we control the whole camera and subsequently the resulting picture quality and consistency of images between cameras. Close liaison between the chip design and camera design team means we can achieve an optimised picture quality, so the quality of the sensor matches the quality of processing.
Manuals Download
https://pro.sony/en_GB/support-resources/f65/manual
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