American Cinematographer - January 2013 - 98

Sony Expands CineAlta Family Sony Electronics has unveiled two new CineAlta 4K cameras, the PMW-F55 and PMW-F5. Both cameras feature a PL lens mount, a modular and compact design for easy configuration, and a new type of 4K Super 35mm image sensor with 4096x2160 resolution (11.6 million total pixels). “These two new models join a family of Sony large-sensor cameras that complement each other and deliver powerful new capabilities to professionals working at every level of production,” says Rob Wilcox, director of marketing for large-image-sensor cameras at Sony Electronics. “They fill a critical gap in large-sensor acquisition between Sony’s PMW-F3 camcorder and F65 digital motion picture camera, and give content creators new levels of flexibility and creative options for acquisition and production in HD, 2K, 4K and beyond. The total lineup, with our new accessories, further underscores Sony’s commitment to supporting every aspect of the highest-quality professional workflows.” The F55 and F5 both offer support for multiple codecs, including Sony’s new

XAVC MPEG-4 AVC/H.264 format, the SR codec (MPEG4 SStP) and the XDCam 50Mbps 4:2:2 codec. Both systems feature in-camera recording to Sony’s SxS Pro+ memorycard media. The F55 can connect to the PVM-X300, Sony’s 4K 30" LCD monitor, using four 3G-SDI interfaces for live monitoring at 4096x2160 at up to 60p while recording XAVC 4K. Users can also connect directly to Sony’s 84" Bravia 4K (3840x2160) LED TV for large-screen monitoring of the camera’s 4K 60p images. With Sony’s AXS-R5 raw recorder, enhanced high-frame-rate capabilities allow shooters to capture slow-motion imagery in up to 60p 4K raw on AXS memory (or, for 2K raw, up to 240 fps with the F55, and up to 120 fps with the F5) without crop factor or loss of angle of view. The F55 also adds a global shutter to eliminate rolling shutter skew and flash band, delivering the same color filter and ultra-wide color gamut as the F65 for true color reproduction. The cameras are further distinguished by wide exposure latitude (14 stops, according to Sony), high sensitivity and low noise. Both the F55 and F5 can dual-record in a number of different configurations depending upon codec selection and the use of the optional AXS-R5 raw recorder. Combinations include recording in parallel to a single SxS Pro+ card, to both SxS slots with the same or different codecs, and to the SxS at the same time as to the AXS-R5 in raw. These features enable highly efficient offline and online workflows, as well as the archiving and repurposing of the raw data. The cameras’ accessories include a new line of Sony PL-mount prime lenses (comprising 20mm, 25mm, 35mm, 50mm, 85mm and 135mm); the DVF-EL100, DVFL700 and DVF-L350 electronic viewfinders; the BP-FL75 battery pack; and Sony’s latest shoulder rig. For additional information, visit www.sony.com/35mm.

Arri, Zeiss Unveil Master Anamorphic Arri and Carl Zeiss have unveiled the Arri/Zeiss Master Anamorphic lenses, the first anamorphic glass designed from scratch for modern digital cameras. The lenses are also suited to film cameras. The Master Anamorphics were developed for the Alexa Studio, Alexa Plus 4:3 and Alexa M digital cameras, all of which are equipped with a 4:3 sensor. The lineup comprises seven anamorphic primes: 35mm, 40mm, 50mm, 60mm, 75mm, 100mm and 135mm. Each lens is fast (T1.9) and compact, and most have a front diameter of 95mm; the maximum lens weight is less than 6.6 pounds. The optical technology in the Master Anamorphics features a newly developed iris with 15 aperture blades, while the neartelecentric design reduces color fringing and shading at the image corners. Virtually no image breathing or anamorphic mumps are experienced. Additionally, a completely new focusing mechanism overcomes timeconsuming mechanical readjustments on set, and state-of-the-art lens barrels feature improved dust and water protection. The Master Anamorphics optimize bokeh with evenly illuminated, oval, out-offocus highlights. Anamorphic blue streaks are rendered in a fresh style with enhanced flares and reflections for additional aesthetic options. The Master Anamorphics are color matched to other Arri/Zeiss primes and Arri/Fujinon zooms, and they rely on the same mechanics and superior standards of the award-winning Arri/Zeiss Master Prime lenses. For additional information, visit www.arri.com and www.zeiss.com.

January 2013

American Cinematographer

http://www.sony.com/35mm http://www.arri.com http://www.zeiss.com

American Cinematographer - January 2013

Table of Contents for the Digital Edition of American Cinematographer - January 2013