Sony F65 4K digital motion picture camera at Twin Production
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The F65 uses a 20 million photosite Super-35 sensor to capture unsurpassed high-resolution images with 14 stops of Dynamic Range. It records them in 4K RAW from 1-60fps and in 2K RAW up to 120fps. The F65 can also output 1080p in Sony's robust SR recording codec. A spinning mechanical shutter eliminates rolling shutter artifacts inherent with 8K CMOS sensors.
The SR-R4 records on to SRMemory Cards, offering massive data capacity and huge sustained transfer rates. SRMemory is unique with its combination of capacity, sustained data throughput, security and portability. It opens up completely new ways for creatives to work. SRMemory Cards are available in capacities of 256 GB, 512 GB and 1 TB, combining massive storage capacity with unrivalled levels of data security. The cards can record and replay multiple streams simultaneously and support data rates that can handle up to 4K. SRMemory Cards offer huge transfer speeds - up to 5.5 Gbps for faster transfer of data in post production and for ultra-fast cloning of data on-set.
The SR-512S55 SRMemory Card is an ultra high-speed, high-capacity, and high-reliability flash memory media for SRMASTER series products, ideal for demanding professional applications including 3D production, high-frame-rate digital cinematography, and high-resolution digital cinematography. The SR-512S55 SRMemory Card has a capacity of 512 GB and guaranteed write speed of 5.5 Gbps. SRMemory is unique with its combination of capacity, sustained data throughput, security and portability. It opens up completely new ways for end-users to work. SRMemory Cards work with an exciting line-up of recording devices and cameras, including the F65 Camera and SR-R4 combination, SR-R1000 Memory Storage Unit, SRPC-5 and SR-PC4 Data Transfer Units, as well as the SR-R1 Portable Memory Recorder. The cards can record and replay multiple streams simultaneously and support data rates that can handle up to 4K.
With the Ultra Prime T2.8/8R, ARRI introduces a new extreme wide angle lens with a unique look that is fresh and unmatched by any other lens in the film or video world. The Ultra Prime 8R shows an extremely wide angle of view without any of the commonly associated distortion because of its rectilinear design.
The Ultra Prime 8R can be used for exhilarating high-speed POV shots, amplifying the apparent speed of movement through its unique perspective and putting the viewer right into the middle of the action. Since wide angle lenses exaggerate depth perception, this lens can also make spaces seem more spacious than they are. It is ideal for wide establishing shots, sweeping vistas, the interior of cars, small rooms, unusual angles, wild music video pans and many, many more applications where a unique and fresh look is required.
Arri / Zeiss Ultra Primes offer crystal clear color and contrast with excellent matching across all focal lengths. For technical clarity and sharpness, nothing compares to the Ultra Primes.
The Arri / Zeiss 32mm Ultra Prime Distagon T1.9 weighs 2.4lbs with a front diameter of 95mm and close focus at 1 1/4'. Arri and Carl Zeiss have created lenses which, for the first time, completely unite all main characteristics such as focus, contrast, color saturation, color uniformity and compactness together with the high speed T 1.9 rating, low aperture-induced focus shift and uniform pupil position. The Ultra Prime lenses retain their excellent image quality even at close focus across the whole Super 35 frame.
The Arri / Zeiss 85mm Ultra Prime Planar T1.9 weighs 2.6 lbs. with a front diameter of 95mm and close focus at 3'. Arri and Carl Zeiss have created lenses which, for the first time, completely unite all main characteristics such as focus, contrast, color saturation, color uniformity and compactness together with the high speed T 1.9 rating, low aperture-induced focus shift and uniform pupil position. The Ultra Prime lenses retain their excellent image quality even at close focus across the whole Super 35 frame.
The FF-5 has a longer swing arm for better gear positioning with HD lenses. A lower gear ratio is also better suited to the smaller lens diameter of HD lenses and/or cine lenses with a compressed focus scale. The FF-5 can be equipped with driver gears for all popular types of HD and cine lenses. The drive gears can be attached on both sides of the swing arm.
OConnor's O-Grips feature smooth-functioning, single-handle ball joints with a maximum payload capacity of 44 lbs (20 kg), making them ideal for use with both smaller and larger cameras, and are capable of fitting all three standard rod systems (15mm and 19mm Studio, and 15mm LWS) via the single, easy to use O-Grips bridge.
Modular O-Grips can be stacked for custom applications and can be configured to create double or multi-joint handles. Each grip is fully adjustable and is capable of a half sphere of stepless articulation. In addition, by combining two grips, the range can be extended to a complete sphere.
ARRI style Bridgeplate with 19mm studio spacing (rods spaced 104mm center to center). Solid body/rod clamp construction.
Combine with Universal Baseplate for correct lens height on camera. Use with Easy Riser for Sony F65. Includes: (2) riser screws
The QRC-SC ALTA allows the Sony F65 camera to be powered via Anton Bauer 3-stud batteries. Complete with auxiliary PowerTap connector and power cable with 8p LEMO. *14.4v output only.
With its high levels of color accuracy and versatility, Sony's HDVF-C30WR 2.7" Color Viewfinder makes a fitting companion to the CineAlta professional camcorders for which it was designed. Also compatible with Sony's PDW-F800 and HDC-3300R cameras, this viewfinder uses an advanced image processor to combine enhanced focus-assist features with improved luminance and a selectable color temperature (5600K/6500K/9300K). The HDVF-C30WR provides the precise focusing and natural color reproduction needed for professional applications such as moviemaking, TV, and commercial production.
Designed to give you the ultimate control and stability for film style shooting, the 2575D has become the standard for 35mm film cameras. It features OConnor's patented sinusoidal counterbalance system for true, accurate balance at any point in the tilt range. Add to this OConnor's stepless, ultra-smooth pan & tilt fluid drag, and you've got the best of all possible combinations.
@ 4 in.: 133 lbs. (60.5 kg)
@ 6 in.: 105 lbs. (47.7kg)
@ 8 in.: 87 lb. (39.5 kg)
Platform: OConnor Plate, 120mm Euro Plate, Panavision Dovetail Plate, Arriflex Dovetail Plate
Designed for full studio, 35mm and 65mm film cameras. Mitchell plate.
ARRI Adapter Long Plate. Turns almost every dovetail or tripod plate into a Arri-Bridge Plate compatible dovetail. Universal ARRI Adaptor Plate
This modified dovetail allows you to eliminate the O'Connor Euro quick release plate, thereby eliminating two extra interconnects, reducing the stack height and increasing the distance that you can travel on the plate. Element's Arri / OConnor style dovetail is compatible with all other Arriflex standard bridge plates.
Compatible with OConnor 2060/2575/120EX and Sachtler Cine 30 fluid heads.
The Universal Juicebox is the most powerful and versatile AC power supply in the industry. It delivers both 14.4v and 28v simultaneously. It has six power outputs that are all powered at all times. The Universal Juicebox can continuously output in excess of 600w of power (300w of each voltage), making it ideal for use with a variety of cameras, monitors, lights and other equipment.
The BT-LH910's 1280 x 768 WXGA pixel resolution offers production-level critical viewing. The monitor's high brightness (350cd /m²), high contrast (1000:1), horizontally-aligned IPS panel has 176 degree vertical and horizontal viewing angles, the widest offered by any LCD display.
ultra-wide gamut LCD Panel the LM-2461W has the unique ability to work in several different color spaces with an instantly selectable menu option. Choose between REC 709, SMPTE C, EBU, DCI-P3, or native Wide Gamut Mode. Color space management is handled by our advanced 64x64x64 Matrix 3D LUT Color Fidelity Engine ensuring a high degree of accuracy in any mode. Additional instantly selectable gamma, peak luminance, and color temperature presets add to the flexibility of this unit making it suitable for a wide variety of applications and environments...
The Schoeps CMIT5U is a high quality professional long shotgun microphone that reflects the performance and sound quality expected of Schoeps. The CMIT5U is designed for professional film, video and music recording applications, capturing both dialog and instruments with great detail and accuracy. The microphone features a directional pattern with low-coloration at the off-axis sections of the capsule. Low and high frequencies are captured at a wider pick up area than that of mid-range frequencies. The result enables audio engineers to cue the boom and keep actors "on mike" with more precision.
The ECM-678/9X features a low-cut filter switch that eliminates noise and low frequency rumble. The microphone requires external +48V phantom power and it's rugged design proves suitable for rigorous use on the road.
The 788T-SSD are eight input, twelve-track digital audio recorders designed for production sound. Its eight pristine analog inputs accept microphone or line-level signals, provide 48 V phantom power, offer peak limiters for microphone signals, and adjustable high-pass filters. For additional flexibility, the 788T accommodates eight channels of balanced AES3 digital input and six channels of balanced analog line-level and AES3 digital output. Support for AES42 digital microphones is also available.
The SR-D1 is a compact SRMemory™ drive unit for use with PC or Mac computers. Once driver software is installed , the SR-D1 can be connected easily via USB3.0/eSATA. Materials in SRMemory can be reviewed with dedicated viewing software(F65RAW Viewer/SR Viewer) before transferred.
The L-758C measures light beyond the capabilities of your camera and ensure repeatable accurate and consistent measurements. In addition, the dynamic range of a particular digital camera or film can be stored, recalled and displayed. Using the USB transfer cable (included) and the Sekonic Digital Input and Transfer software (included), a digital camera or film's exposure profile can be uploaded from a computer (Macintosh or Windows) to the L-758Cine.
P+S Technik Skater Mini Dolly
This full 2/3" DVCPRO HD camcorder records pristine 100Mbps HD images in any of 11 video formats, encompassing 60Hz and 50Hz production. The versatile, cost-effective camera provides higher-quality 4:2:2 intra-frame recording that holds up through layers of special effects, graphic overlays and constant editing and processing. Collaboration and content exchange are essential in sports production, cable shows and reality TV — and nothing maintains the original image integrity and sound quality like DVCPRO HD. With 1080i, 720p, 24p and 25p capabilities, the AJ-HDX900 is perfect for long-form HD programming and an invaluable tool for digital cinematography, cable and television production in any format, sports and events, for globetrotting documentarians and feature crews, and for the rental companies that serve them.
4K UHD is a resolution of 3840 pixels × 2160 lines (8.3 megapixels, aspect ratio 16:9) and is one of the two resolutions of ultra high definition television targeted towards consumer television, the other being 8K UHD which is 7680 pixels × 4320 lines (33.2 megapixels). 4K UHD has twice the horizontal and vertical resolution of the 1080p HDTV format, with four times as many pixels overall.
4K indian wedding images from Sony f65 twinproduction.com
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|Format||Resolution||Display aspect ratio||Pixels|
|Academy 4K (storage format)||3656 x 2664||1.37:1||9,739,584|
|4K Ultra high definition television||3840 x 2160||1.78:1 (16:9)||8,294,400|
|DCI 4K (flat cropped)||3996 x 2160||1.85:1||8,631,360|
|DCI 4K (CinemaScope cropped)||4096 x 1714||2.39:1||7,020,544|
|Digital Cinema Initiatives 4K (4K2K) (native resolution)||4096 x 2160||1.90:1 (256:135)||8,847,360|
|Canon Inc. 4K2560 (Canon DP-V3010)||4096 x 2560||1.6:1 (16:10)||10,485,760|
|Full aperture 4K (storage format)||4096 x 3112||1.32:1||12,746,752|
The Sony F65 Digital Motion Picture Camera has been designed to be the single camera solution to meet the demands of the biggest budget VFX-heavy feature films, while still offering a workflow suitable for episodic television and mid-range productions.
On the high end, productions can choose to record 16-bit linear RAW images directly from the camera's sensor. Although 16-bit RAW offers an incredible amount of flexibility in the post production environment, some situations may call for a more lightweight recording. For those productions, the Sony F65 can also record 10-bit or 12-bit images in Sony's new SRMASTER recording system, built on the HDCAM SR codec. With SRMASTER, users can record virtually and visually lossless at 880 Mbps, 440 Mbps, or even 220 Mbps.
Sony's newly-designed Super 35mm-sized sensor for the F65 utilizes 20 Megapixels to output a 4K image by "supersampling" from the 8K of available pixels. Because Sony's "supersampling" system does not require any cropping of the sensor, the user can also derive 2K or HD images using the full sensor at 16-bit linear RAW.
The Sony F65 offers a full 14-stops of dynamic range with high sensitivity and extremely low noise, allowing cinematographers to capture images that would have previously been impossible, and possibly reducing the lighting kit needed for some shots. The color gamut of the F65 has been measured as surpassing that of traditional film. More dynamic range and the expanded color gamut offer the filmmaker images of increasing depth and subtly.
Fast motion and slow motion are easily achievable with the Sony F65. At 4Kx2K resolution the camera can shoot at 1 to 60 frames per second. At 4Kx1K resolution you can over- and undercrank from 1 to 120 frames per second. The reason for keeping the width of the image the same while changing the height is that this allows for high-speed shooting with "windowing," crop factor or any change to the effective focal length of the lens.
The Sony F65 is one of the few professional digital cinema cameras to offer a mechanical rotary shutter. All CMOS digital sensors are susceptible to the "rolling shutter" effect, or the image distortion caused by fast moving subjects or fast camera moves, whereby vertical lines begin to bend. Even though Sony's advanced CMOS design goes a long way to reducing the rolling shutter effect, some productions, such as 3D using a stereoscopic beamsplitter rig, require a more exact geometrically-correct image. To this end, the Sony F65 has an optional mechanical shutter. The rotary shutter can be disabled for sound synch shooting and enabled when needed, utilizing a variety of shutter speeds.
The Sony F65's sensor 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
Below Images taken from 4K Ultra HD 16 bit Raw Video file to JPEG SRGB.Click on thumbnail to view large 4K UHD Indian Wedding images.