Peter Crithary from Sony twitted the info about the new F55 and F5 Cine Alte cameras. While these are not A or E mount cameras they have some very intriguing feature that we have to talk about. The full specs can be seen at ProSony. And the pdf files are here:
F5 http://pro.sony.com/bbsccms/assets/files/show/highend/pdf/F5_Camera.pdf
F55 http://pro.sony.com/bbsccms/assets/files/show/highend/pdf/F55_Camera.pdf
(Thanks OneGuy for finding the links).
Here are the key features:
1) These are modular cameras
2) The F55 has a Global shutter
3) Super wide color gamut that surpass printed film(!)
4) Super long choice of recording formats
5) Long-life Olivine Battery
6) 16 bit 4K RAW recording and 180 fps in 2K without line skipping or sensor windowing
7) 14 stop dynamic range (film has 16)
Imagine if some of these features would be implemented in future High End A or E mount cameras! For example global shutter on an photo camera would allow to take instant pictures with no lag (there is no mechanical shutter) and with no “click clack” noise. Modularity is also an aspect Sony could bring in a sort of hybrid A and E-mount cameras. And of course having a super wide color gamut and 14 stop dynamic range would be appreciated too! Today’s announcement shows us how far Sony sensor and camera technology can go today. And what we more “mass-camera” oriented camera can expect from the near future.
P.S.: Andrew from EosHD analyzed the single specs.
And here are the images of the color performance and the new f/2.0 PL mount lenses (damn would I have loved to see them in A-mount!):
36 Responses
Just bring the new XAVC codec to lower end cameras, the AVCHD compression is terrible
I don’t know about “terrible” but, yes, please bring even HD XAVC to the Alpha/NEX cameras so we can use higher bit-rates and expanded color spaces. 1080P at 10-bit? 4:2:2? That would kill competition in the A99 or future NEX while still leaving room for the “pro” cameras to have 4K.
Please bring the HD XAVC to the Alpha/NEX cameras so we can kick other fanboys’ @sses in forums ;P
“Colors better than film”?
For what it’s worth, digital imaging has provded us with a lot more accurate (and customizable too) colors than film has ever had for at least a decade. When it comes to color there hasn’t been anything film can do that digital can’t replicate.
woww very tempting lens *A*
They advertise the interchangeable mount of the F5/F55 with possibilities for Canon, Nikon, Leica, etc. but hey, you have your own still lens mount. Just saying …
http://pro.sony.com/bbsc/ssr/show-highend/resource.solutions.bbsccms-assets-show-highend-F5.shtml#/flexibility
I’m confused. They do advertise their own lenses/mount. What I did learn from your link is that there’s a “FZ” mount with a 18mm flange distance. Sounds suspiciously like an E-mount. Anyone know more on this? Also what’s with that 14X zoom?! Can we get that for the NeX?
I’m also wondering about this. It makes a lot of sense to me for them to use the emount because then they unify all their camera systems with the emount and can just focus on making lenses for that system.
No, you can’t. FZ mount has the same flange distance as E-mount so you can’t mount their lenses on your NEX.
Strange they don’t advertise their own A-mount lenses for use on a Cinealta Camera and they even advertise the competition. Not good enough for Sony Pro to skip mention it?
why does Sony Professional Broadcasting Division seems to have all the necessary budget to release amazing products (global shutter…People! GLOBAL SHUTTER!) and even a new gen of lenses (although I’m sure people will be after the new compact Zeiss lenses) while here on Sony Imaging Division, simple features like Tethering on SLT-a77 is a far sight for current users?
well anyone in the broadcast industry knows Sony Professional absolutely dominates this field and making a killing in doing so. Their support and customer service are also world class. I think with the restructuring Sony is merging professional and imaging divisions, so hopefully we will have consolidated products. The new XAVC codec is designed for consumers cameras as well.
+1
Sony needs to merge the A99 to the pro broadcast division, the support out of Sony professional is awesome. It would give Sony the equivalent to CaNikon’s pro support, which it lacks for Alpha mount pro’s.
These lenses would be too expensive for still cameras. Probably several thousand dollars each.
“Bokehs”? Good grief.
“For example global shutter on an photo camera would allow to take instant pictures with no lag (there is no mechanical shutter) ”
In the NEX, the start of an exposure is purely electronic already. The mechanical shutter is used only to end the exposure (it really is a “shutter”, not an “opener” as in most cameras). So there is no lag now.
The big advantage of a totally electronic shutter would be the removal of a mechanical system which costs money in manufacture and can wear out. It might also make space for an in-camera stabilisation device, although I think this would be better also done electronically.
Can also lessen or eliminate the effects of rolling shutter.
+ silent
+ flash sync speed
both more important to me as a stills shooter
Wats about the price?
seems to have a new electronic viewfinder as well!
FF NEX9 with global shutter? 🙂
Next year?? 🙂
I hope so. But I have no 100% reliable info yet…
any unreliable info? 😉
In photography you’ll still have a ‘clack’ and some latency as the lens’ aperture has to be set. This can be very nearly silent on video-specific lenses but will still have some latency associated with it.
Any word on the sensor? Can’t see it filtering down to the consumer end but would be very interesting to see what it could do in a medium format camera…
There is no such thing as “sensor color gamut”, maybe it is told by marketoids to fool consumers.
I think increasing the dynamic range of a sensor will increase the gamut.
If you think of a colour as the ratio of one primary to the other two (for instance, green:magenta), then the range from darkest useful signal to brightest useful signal in each channel will determine the gamut of images.
Hi, I read numerous time the spec of the F5 but I can’t fully understand. To me looks like is a 4K camera which record on board at 2K but with the capabilities of record 4K Raw externally with the AXS-R5 optional module. I’m right?
Current users of lowlowprice consumer cams
like a77, do not need anything of that.
These marketingzombied are running 2 times a year in the shop and buy..blood money…for joke?
next pipipopimarkettafuninicacamo cams.
And for those idiots you make borderline-shootouts
where a 600 euro cam winnnnns….
so the Sheeps run to store and buy the gear.
Other read blogs, where boyracerexperst tell us
all day long..everything… but i do not see
A MOVIE..WHERE IS IT?
If anybody would thing a little he would realy
make next good film… ( 28 days later…every canon 550
is lightyears better but….)with any cam he gets.
any. but if he waits……one day in the year 2535
. . . huh?
hey Sonyman, give me that Ganja you smoke!
My God,…Sony’s Pro group is a monster. They are aiming right at RED’s heart and this a super high powered rifle shot!
Sony need to have the “spirit” of the Sony Pro guys spread out into many other areas of the company.
Bravo Sony Pro! You guys are amazing!
global shutter is great news!
BUT, realize that a global shutter that does 1/60s, 1/120s, or even 1/480s is much easier than 1/4000s or 1/8000s. Read up on LCD latency / refresh rate. High-end LCD TV’s are toting 600Hz refresh rates–yeah, that’s 1/600. Would you be happy with a global shutter on your camera that maxed out at 1/600?
Of course, the best would be a technology that could provide global shutter at 1/4000 or faster, but perhaps a hybrid design of a global shutter and a mechanical shutter so you get the best of both worlds?
The jellos are primarily an issue video folks fight with and they don’t want/need high shutter speeds.
Good point Chris but I would thrilled to have an NEX with even a 1/600 (silent/fast) global shutter–even there was a 1/4000 or 1/8000 mechanical option as well. Interesting that this tech didn’t make it onto the latest round of APS-C and FF frame sensors from Sony (ie A99/VG900 & NEX-6)
This high-end tech is for the more lucrative and more successful segment. It will trickle down eventually, but definitely not with the recent “consumer” models. Sony Imaging Division is not just the same as Sony Production (more incompetent, less understanding of the market – though improving, etc.)
Yep, it’s still very costly. Not in the least because the current technology as described by Sony, dictates that a Super 35 (about APS-C sized) sensor supporting this, has to be about the size of a FF sensor…. 😉
Even with 1/120s for global shutter you could take 2 different exposures of moving subjects for better DR or lower noise. But it could take a while for the RAW developers to get updated for something like this.