Digital Motion Picture Cameras

At Sony, the quest for better imaging never stops

Emotion in Every Frame

It spurs us to do the hard stuff. To develop and fabricate ground-breaking image sensors. To create original codecs that combine unprecedented quality and practicality. To build forward-looking recording systems and incredibly useful lens mounts.

Silicon, Glass and Steel in the Service of Art

The resulting Sony® CineAlta® cameras capture world-beating color. And resolution beyond the ordinary. And sensitivity. And exposure latitude. That’s why DPs choose Sony CineAlta cameras for everything from intensely personal projects to big-budget blockbusters.

VENICE at Venice
VENICE Case Study - Audi

Capture Colors that Others Can't

We design our own image sensors and build them in our own factory. That’s how the Sony VENICE and F55 can capture shades of green and red that are not simply beyond the reach of other digital cameras. They’re beyond the capability of print film. And where others record with 10-bit or 12-bit precision, Sony’s 16-bit linear RAW delivers 4,000 times as many color gradations. Which means that every nuance of color is faithfully preserved.

Sony Publications

CineAlta Magazine

Go behind the scenes with our digital motion picture cameras. See the real stories of the people behind the cameras, in the edit bay and in the color correction suite.

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@ction magazine

Get the inside story on amazing projects shot on Sony FS Series cameras, as told by the production teams themselves.

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Which Camera?

From the shoot-and-go handheld FS5 to the groundbreaking full frame VENICE motion camera system, Sony has a camera for every project.

CamerasVENICEF65 F55 F5 FS7 II FS7 FS5 II FS5
Sensor resolution6048x4032 (full frame)8192 x 21604096 x 21604096 x 21604096 x 2160 4096 x 2160 3840 x 2160 3840 x 2160
Color gamutS-GamutS-GamutS-GamutWideWideWideWideWide
Lens mountPL Mount and E-mount lever lock typePLSony FZ + PLSony FZ + PLSony Lever Lock Type E-MountSony E-MountSony E-MountSony E-Mount
Linear RAW recording16bit linear RAW with AXS-R7 recorderFrom 8K to 2K 16-bit with SR-R4 recorder4K and 2K 16-bit with optional AXS-R54K and 2K 16-bit with optional AXS-R54K and 2K 12-bit with XDCA-FS7, AXS-R5 + HXR-IFR54K and 2K 12-bit with XDCA-FS7, AXS-R5 + HXR-IFR54K and 2K 12-bit with XDCA-FS7, AXS-R5 + HXR-IFR54K and 2K 12-bit with XDCA-FS7, AXS-R5 + HXR-IFR5
ShutterVENICERotary + ElectronicFrame Image ScanElectronicElectronicElectronicElectronicElectronic
Exposure latitude15+ stop14+ stops14+ stops14+ stops14+ stops14+ stops14+ stops14+ stops
Maximum frame rate4K 17:9 at up to 110fps. * V4.0 firmware with optional CBK-3610H upgradeUp to 120 fps in one frame increments in 4K RAWUp to 240 fps in one frame increments in 2K RAW; Up to 180 fps on boardUp to 240 fps in one frame increments in 2K RAW; Up to 180 fps on boardUp to 180 fps in one frame increments on boardUp to 180 fps in one frame increments on board960 fps on board (burst mode)960 fps on board (burst mode)
Maximum bitrate at 24p2+ Gbps5.5 Gbps with SR-R4 in 8K960 Mbps with AXS-R5 in 4K960 Mbps with AXS-R5 in 4K960 Mbps with XDCA-FS7, AXS-R5 + HXR-IFR5960 Mbps with XDCA-FS7, AXS-R5 + HXR-IFR54K and 2K 12-bit with XDCA-FS7, AXS-R5 + HXR-IFR54K and 2K 12-bit with XDCA-FS7, AXS-R5 + HXR-IFR5

Built to Work the Way You Do

Sony CineAlta cameras fit comfortably into the on-set realities of today’s productions. We designed FS7 from the ground up for long-form, handheld shooting. And the highly modular F55 and F5 now slide into the CBK-55BK shoulder mount dock, sold separately. When docked, the F55 and F5 combine the capabilities of a Super 35 cinema camera with the ergonomics of a shoulder-mount 2/3-inch broadcast/documentary camcorder.

The VENICE Extension System (CBK-3610XS) enables cabled separation of the VENICE camera body and image sensor block by up to 5.5m with no degradation in image quality.

CBK-3610XS (CBK3610XS) VENICE Extension System

Exquisite Slow Motion

Nothing underscores dramatic action like slow motion. And nobody delivers slow motion like Sony. Our F55 and F5 capture 240 fps, which translates to an ethereal 10x slow motion when played back at 24p.

Never Fear the Dark. Or Sunlight. Or Contrast.

Bring on the pyrotechnics. Bring on the Los Angeles noontime exteriors, when the sun is direct and the shadows are deep. Bring on the night scenes with faint city lights glowing in the distance. In every aspect of exposure, Sony cameras exceed expectations, because they exceed the capabilities of the human eye. Up to 14 stops of exposure latitude equal the best that film has to offer. While extraordinary sensitivity and low noise enable you to pull detail out of darkness in ways that film never could.

DP Scott Kevan shot Deliver Us From Evil on the F55. “We wanted the Bronx to be a major presence,” he says. “That’s where the actual events took place and the architecture has a weight to it and a darkness even in the daylight.”

Telling a Story

Sony has always seen beyond the standards of today—to create the standards of tomorrow. Way back in the 1980s, we produced the world’s first commercial HD production system. In 2005, we built the world’s first commercial 4K projectors. Today, we offer production in HD, 2K, 4K, 6K and even 8K with the remarkable F65.

The Universal release, ‘A Million Ways to Die in the West’ was shot in Santa Fe, New Mexico on F55s. According to DP Michael Barrett, “What I most appreciate is that these cameras enable a cinematographer to reflect less on technology and more on how best to tell a story.”

Digital Unchained

All too many digital cameras lock you into a single lens mount, a single recording system or a single shooting style. Sony CineAlta® cameras deliver mind-bending versatility. The F55 and F5 already record to four different codecs. And there are two more — Apple® ProRes 422 and Avid DNxHD® recording — via the CBK-55PD encoder board, sold separately. The total range of bitrates varies from a utilitarian 50 Mbps all the way up to a magisterial 960 Mbps with the docking AXS-R5 recorder. Sony gives you options to mount cine lenses, SLR lenses or broadcast lenses — all on the same camera body. The F65 and F55 can even support 4K live production, complete with remote camera control, live switching and instant replay.

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