Sony recently announced two new cinema styled camera bodies to the film world.  I was checking out both Vincent LaForet and Phillip Bloom’s blogs to get a little insight into what, when and how much these cameras will mean to the film game.Here are some abridged notes I’ve compiled to relay the important specs and info:

Price: Still unknown. Bloom estimates around 18k for F5, and around 50k for F55, but up until now only speculation.

Specs:

• Super 35mm CMOS 4K sensors – 8.9 million effective pixels.16-bit recording (via an external recorder – the AXS-R5 recorder).
• The F55 however has a global shutter, and should have a higher color gamut, slier to the F65.
• Both cameras super sample the 4K Sensor to give you the follow recording options with no crop factor:

F5 Chart:

From Sony: “[Both cameras are] 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.”

Frame rates via Vincent LaForet:

• 60 fps out of the box (XAVC HD at launch; XAVC 4K, QFHD and 2K with a planned upgrade)
• 180 fps with a planned upgrade (XAVC 2K/HD). Unique to this process, there is no line skipping or sensor windowing. So there’s no crop factor, no loss in angle of view.
• 240 fps 2K RAW, with the optional AXS-R5 outboard recorder and a planned upgrade, achieves the highest frame rates most productions will need, while retaining exceptional, 16-bit image quality. This not only exceeds 12-bit RAW with 16 times as many Red, Green and Blue gradations. By design, it exceeds the capabilities of human vision!
• 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 AXSMTM 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:

SONY F5:

• - 4K/2K RAW + XAVC 2K*/HD
• - 4K/2K RAW + MPEG-2 HD422

SONY F55:

• - 4K/2K RAW + XAVC 2K*/HD
• - 4K/2K RAW + MPEG-2 HD422
• - 2K RAW + XAVC 2K*

-       Both cameras are also capable of 4K/2K RAW recording via the AXS-R5 external recorder.

-       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.

I’m excited to see these new models from Sony in action. Some people are already suggesting these are going to shake the market, especially for Canon, whose cameras have sold incredibly well thus far. What do you think?