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Sony F65

Super 35/S35 8K/4K/2K Cinema Camera Kit

Price: £7,350.00
Location: United Kingdom
Condition: Used
Viewed: 224 times
Date Expires: 27/02/2023
Item ID: 225508
 

Super 35/S35 8K/4K/2K Cinema Camera Kit

Sony F65

£7350 OVNO (or very near offer)

SONY F65

(includes the rotary shutter option)

Super 35 PL Mount 8K/4K Cinealta Camera Kit

(with lots of Accessories and 5x 256Gb Media Cards)

NO LENS OR BATTERY

Only 521 hrs. (on time)

Sony’s F65 CineAlta Digital Motion Picture Camera Won the Prestigious Scientific and Engineering Academy Award 2016/2017.

With a resolution of 20 megapixels, the Super 35mm 8K CMOS sensor inside the F65 delivers unprecedented 8K/4K/QFHD/2K/HD images with extremely fine

texture and low aliasing. Even if you’re post producing for delivery in 2K/HD, this extraordinary sensor provides gorgeous super-sampled images beyond the reach of ordinary HD cameras.

With our flagship digital motion picture camera, the Sony F65, we’ve not only matched the quality of 35mm, but surpassed it!

This camera together with all the accessories cost around £70,000 when new and it's had only 520 hours use!

It
is in great condition and comes fully tested in perfect working order.

All it requires is a PL Mount Lens and a V-Mount battery (not included).

It has a mechanical shutter, as well as an electronic shutter.


The F65 CineAlta camera is the ultimate expression of the digital cinematographer’s art.

Optimised for motion picture and TV production, the flagship F65 captures uncompromising images with truly breath-taking colour, depth and detail.

Items included in this sale:

Sony F65 520 hrs. with Mechanical & Electronic Shutter. February 2012. With Version 4.01 firmware.

Sony SR-PC4 with both 1G and 10G ethernet Connections or a Sony SRD-1 instead, *not both.

*(ask for extra pricing if you need both readers)


Sony SRMaster SR-R4.

Sony DVF-EL100 OLED Colour Viewfinder

Sony SRK-CP1 Control Panel

Marshall V-Lock Power Plate

3 x Sony 256Gb S15 SR Memory Drives

2 x Sony 256Gb S55 SR Memory Drives (High speed cards for full 4K RAW recording @ 5Gbps)

2 x 19mm Aluminium Rods (Long)

2 x 19mm Carbon Short Rods

2 x Hand Grips

LWS Dovetail Baseplate

Arri BP-5 Bridgeplate

1 x Cheeseplate (Top)

1 x Cheeseplate (Side)

1 x Top Handle

Connecting Cables

Custom Innerspace Flight Case with wheels.

INFO


The F65 is a top-end motion picture camera. It features a true step-change in sensor technology, using a 20 Mega pixel 8K CMOS sensor. The F65 runs up to 120fps, creates HD/2K or genuine 4K resolution images and can output 8K too, although the recorder will only record up to 4K, with a huge colour gamut, outstanding dynamic range, and high sensitivity.

The dockable SR-R4 SRMemory unit (included) records 16bit linear SRRAW directly on to an SRMemory card at up to 5 Gbps. This can be developed with industry-standard NLEs from companies such as Adobe, Avid, Apple, Film light, Quantel, Sony as well as others. For maximum operational flexibility, the SR-R4 also supports SStP recording (same as the HDCAM SR) which can be used natively on the same NLE's.

Super 35mm CMOS sensor with 20 Mega pixels

The Sony F65 features superb image quality in HD/2K, and True 4K (with its 4.01 firmware upgrade). There is a choice of format composition as required, including 1.85:1, 1.78:1, 1.66:1, 1.33:1, 2.35 spherical, 1.3x anamorphic, or 2x anamorphic cropped. The F65 has a 14-stop latitude, high sensitivity and ultra-low noise. It offers filmic colour reproduction with an unrivalled colour gamut.

Records on to SRMemory with dockable SR-R4 SRMASTER Portable Recorder

The SR-R4 is a 4K recording system specifically designed for Sony’s new top-of-the-line F65 cinematography camera. It takes full advantage of the ultra high-speed SRMemory platform to record super-rich RAW data from the F65 at speeds as fast as 5 Gbps.

SRMemory is unique as nothing can match its combination of capacity, sustained data throughput, security and portability. It opens up completely new ways for end-users to work. With huge transfer speeds up to 5 Gbps, SRMemory media also has massive capacity, up to 1TB, for long recording times.

Wide range of interfaces for on-set workflow

The F65 provides 16bit RAW output for recording onto SRMemory in the dockable SR-R4. Other interfaces include monitoring via HD-SDI and HD viewfinder with LUT, camera remote connector, LAN connecter, WiFi Camera Control and Cooke /i support.

Rotary shutter

The mechanical rotary shutter option (included) eliminates the rolling-shutter effect common to CMOS sensors.

Built-in ND Filters


Four Neutral Density Filters are supplied with this Rotary Shutter option.

Records at up to 120 FPS

The camera features higher frame rate recording up to 120P, which is especially useful on productions such as commercials that require a slow motion effect.

REVIEWS & DOWNLOADS

With the F65 analog film quality is really becoming digital. Using the F65 with the right lenses is giving me the opportunity to create pictures which are so clear and perfect as looking through your own eyes. if a project needs on the other hand a more analog look i can add some grain to it which makes the F65 a perfect tool for different requirements and applications.

Berti Kropac, Director of Photography, KROPAC MEDIA

ANNIE

Since we were shooting 16-bit 4K RAW, we had enormous latitude with dynamic range, color, and gamma. It was unbelievable, and I would always be shocked in certain scenarios at what the cameras could do.

Michael Grady
Cinematographer of the “Annie


LUCY

A huge draw for Luc Besson was the color fidelity and rendition of skin tones. The colors were really there; we could pick out the blue of the sweater and the carnations seemed very natural.


Thierry Arbogast,
AFC Director of Photography on “LUCY"

See video: https://www.youtube.com/watch?v=pps3xnSQWq0&feature=emb_rel_end


MORE FILMS MADE USING THE F65 BELOW:


A Series Of Unfortunate Events

Director: Various

DoP: Various

Camera: F65

About Last Night

Director: Steve Pink

Director of Photography: Michael Barrett

Camera: F65

After Earth

Director: M. Night Shyamalan

Director of Photography: Peter Suschiztky

Camera: F65

Alice Through The Looking Glass

Director: James Bobin

Director of Photography: Stuart Dryburgh

Camera: F65

Annihilation

Director: Alex Garland

Director of Photography: Rob Hardy

Camera: F65

Beauty and the Beast

Director: Christophe Gans

Director of Photography: Christophe Beaucarne

Camera: F65

Belle

Director: Amma Asante

Director of Photography: Ben Smithard

Camera: F65

Billy Lynn's Long Halftime Walk

Director: Ang Lee

Director of Photography: John Toll

Camera: F65

Bloodline

Director: Glenn Kessler, Todd A. Kessler, Daniel Zelman

Director of Photography: Jaime Reynoso, Darren Lew

Director of Photography: David Procter

Camera: F65

Cable Girls

Director: Various

Director of Photography: Various

Camera: F65

Café Society

Director: Woody Allen

Director of Photography: Vittorio Storaro

Camera: F65

Casanova

Director: Jean-Pierre Jeunet

Director of Photography: Pierre Gill

Camera: F65

Citibot

Director: Ben Elia

Director of Photography: Phillippe Ros

Camera: F65

Cold of Kalandar

Director: Mustafa Kara

Director of Photography: Cevahir Sahin, Kürsat Üresin

Camera: F65

Deliver Us from Evil

Director: Scott Derrickson

Director of Photography: Scott Kevan

Camera: F55 & F65

Ecobot

Director: Ben Elia

Director of Photography: Phillippe Ros

Camera: F65

Evil Dead

Director: Fede Alvarez

Director of Photography: Aaron Morton

Camera: F65

Ex Machina

Director: Alex Garland

Director of Photography: Rob Hardy

Camera: F65 + F55

Gaz de France

Director: Benoit Forgeard

Director of Photography: Thomas Favel

Camera: F65

Generations

Director: Pete Farrer

Director of Photography: Nic Morris

Camera: F65

Kaos

Director: Semir Aslanyürek

Director of Photography: Yusuf Aslanyürek

Camera: F65

Kickstart Theft

Director: Fred Goodich

Director of Photography: Vilmos Zsigmond

Camera: F65

Kis Uykusu

Director: Nuri Bilge Ceylan

Director of Photography: Gökhan Tiryaki

Camera: F65

La Vénus à la fourrure

Director: Roman Polanski

Director of Photography: Pawel Edelman

Camera: F65

Le Nouveau Testament (The Brand New Testament)

Director: Jaco Van Dormael

Director of Photography: Christophe beaucarne

Camera: F65

Left Turn

Director: Mauricio Marin

Director of Photography:

Camera: F65

Les Gardiennes

Director: Xavier Beauvois

DoP: Caroline Champetier

Camera: F65

Les Saisons (Seasons)

Director: Jacques Perrin

Director of Photography: Eric Guichard

Camera: F65

Let's Be Cops

Director: Luke Greenfield

Director of Photography: Daryn Okada

Camera: F55 & F65

Lucy

Director: Luc Besson

Director of Photography: Thierry Arbogast

Camera: F65

Made in Jersey

Director: Various

Director of Photography: Daryn Okada, Bobby Bukowski

Camera: F65

Mannenharten

Director: Mark de Cloe

Director of Photography: Mick van Rossum

Camera: F65

Meme pas mal

Director: Jeremy Trequesser & Maxime Roy

Director of Photography: Xavier Bru

Camera: F65

Monkey Kingdom

Director: Mark Linfield, Alastair Fothergill

Director of Photography: Gavin Thurston

Camera: F65

Motel (The Bag Man)

Director: David Grovic

Director of Photography: David Knight/Steve Mason

Camera: F65

No Good Deed

Director: Sam Miller

Director of Photography: Michael Barrett

Camera: F65

O Tempo e o Vento

Director: Jayme Monjardim

Director of Photography: Affonso Beato

Camera: F65

Oblivion

Director: Joseph Kosinski

Director of Photography: Claudio Miranda

Camera: F65

Only The Brave

Director: Joseph Kosinski

DoP: Claudio Miranda

Camera: F65

Powers

Director: Mikael Salomon, Bill Eagles, David Petrarca, David Slade, Tim Hunter, Aaron Lipstadt

Director of Photography: Jan Richter-Friis, John Lynch

Camera: F65

Quien mato a Bambi?

Director: Santi Amodeo

Director of Photography: Alex Catalan

Camera: F65

Rebel City Rumble

Director: Stephen Lourdes

Director of Photography: Anthony Bowes

Camera: F65

Roots

Director: Geoffrey Bellhouse

Director of Photography: David Procter

Camera: F65

Sarki Söyleyen Kadinlar (Singing Women)

Director: Reha Erdem

Director of Photography: Florent Herry

Camera: F65

Save me

Director: Various

Director of Photography: Lloyd Ahern II

Camera: F65

Tears of Steel

Director: Ian Hubert

Director of Photography: Joris Kerbosch

Camera: F65

Ted 2

Director: Seth MacFarlane

Director of Photography: Michael Barrett

Camera: F65

Testament of Youth

Director: James Kent

Director of Photography: Rob Hardy

Camera: F65

The Dark Horse

Director: James Napier Robertson

Director of Photography: Denson Baker

Camera: F65

The Michael J. Fox Show

Director: Various

Director of Photography: John Inwood, Michael Grady

Camera: F65

The New Normal

Director: Various

Director of Photography: Carlos González, Michael Goi

Camera: F65

The Perfect Guy

Director: David M. Rosenthal

Director of Photography: Peter Simonite

Camera: F65

The Second Best Exotic Marigold Hotel

Director: John Madden

Director of Photography: Ben Smithard

Camera: F65

The Smurfs 2

Director: Raja Gosnell

Director of Photography: Phil Méheux

Camera: F65

The Wedding Ringer

Director: Jeremy Garelick

Director of Photography: Brad Lipson

Camera: F55+F65

Think Like a Man Too

Director: Tim Story

Director of Photography: Christopher Duskin

Camera: F55+F65

Venus in Fur

Director: Roman Polanski

Director of Photography: Pawel Edelman

Camera: F65

Wayward Pines

Director: Various

Director of Photography: Jim Denault, Gregory Middleton, Amy Vincent

Camera: F65

White House Down

Director: Roland Emmerich

Director of Photography: Anna Foerster

Camera: F65

Winter Sleep

Director: Nuri Bilge Ceylan

Director of Photography: Gökhan Tiryaki

Camera: F65

Wonder Wheel

Director: Woody Allen

DoP: Vittorio Storaro

Camera F65


What would make someone buy an F65 and not an F55?

The F65 is Sony’s flagship 4K camera and its 20 megapixel 8K sensor is designed for filmmakers looking to shoot at the absolute pinnacle of image quality.


The PMW-F55 is aimed at production companies, directors of photography and filmmakers looking to bring the power of 4K into their content from short films and music videos right up to high-end drama production. The F55, and indeed the F5, both use Sony’s XAVC open format, which bridges the gap between 4K raw and HD workflows and opens up the possibility of 4K for broadcast in the future. In short, the cameras complement each other, but address different needs and budgets.

Given some of the global blockbusters which have been filmed using the F65 since it started shipping in 2012, it’s fair to say that the camera has taken

Hollywood by storm!

Is it easy to mix footage from the F55 and F65? Can you transfer set-up information between them?

The cameras match in terms of colour and dynamic range, so yes, it is quite easy to mix footage from the two. While you can’t transfer set-up information, the default settings for the two cameras match.

What is meant by saying that you can have an 8K output from an F65? Is this the raw output that needs Debayering? What is the actual resolution once Debayered?

Yes, this refers to the raw output of the F65, but a new RAW viewer is in the pipeline which will have at least a 6K output, even from existing RAW files.

What is the true dynamic range of raw output?

The true range of the raw output is at least 14 stops.

Sony quotes a 20 megapixel sensor for the F65 but 8K is 33 megapixels? Is the 20 megapixels the resolution after debayering?

The 20 megapixels quoted actually refer to the number of photosites on the sensor itself. Interpolation then allows us to increase the number of output pixels for 8K to 33 megapixels.

What is the advantage of a mechanical shutter in the F65 over the F55’s electronic global shutter? Is it mainly dynamic range?

The main advantage is that a mechanical shutter gives exactly the same motion blur as a film camera, giving the shots a cinematic quality. In addition, it also ensures the retention of full sensitivity of the sensor.

Sony makes its own sensors. What are the advantages that this gives Sony, compared to the companies that don’t make their own?

Fundamentally, it’s a matter of quality control – we control the whole camera and subsequently the resulting picture quality and consistency of images between cameras. Close liaison between the chip design and camera design team means we can achieve an optimised picture quality, so the quality of the sensor matches the quality of processing.


Manuals Download

https://pro.sony/en_GB/support-resources/f65/manual


NO VAT - NO MORE TO PAY IN THE UK

VERY IMPORTANT: BREXIT INFORMATION

Following the UK's departure from the EU on 1 January 2021, all European shipments are sent on a DAP Basis (Delivery at Place).

This means that you will be liable for import VAT at your country's prevailing national rate and for orders over 150 Euro (including carriage) import duties will be chargeable at your country's prevailing national rate.

The Duty is ascertained by your national customs authority based on the HS Code of each product. the HS Code is shown in the "European Shipment" section of each product page.

You are responsible for paying any taxes and any other duties in your country.


Contact: +44 7817 768855 International / 07817 768855 (UK only)

email: admin@splut-tv.co.uk

Keywords: Sony F65RS | Sony F65RS | Sony F65 | F65



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Cloud integration: The only way is up
Francois Vaillant

In 2017 we saw the introduction of SMPTE 2110 and since then, the transition to IP has emerged as a priority for broadcasters looking to streamline their operations, decrease their footprint and effectively integrate with an industry in a rapid state of flux. A 2020 survey by Devoncroft found that almost 20% of broadcasters had already deployed SMPTE 2110, and over 25% were planning to do so. Then came the pandemic, precipitating the need for on-the-fly collaboration and accelerating the transition to remote, virtual and cloud production.

Tags: dejero ,smpte 2110 ,dazzl ,streaming
Contributing Author Francois Vaillant Click to read
The Cloud - a measured approach
Ciaran Doran

With the buzz of ‘cloud’ everywhere in our industry it would be natural to think that cloud is the only game in town. Isn’t it time to step back and consider very carefully how, or whether, you make that journey to the cloud?

Tags: cloud ,rohde and schwarz ,rohde ,schwarz
Contributing Author Ciaran Doran Click to read
Meeting the specification
Chris Smeeton

A good technical specification will detail precisely what is required, from the equipment to the cables connecting it. Many specifications will give  particular manufacturers and model numbers. On many occasions, this makes tendering simple and gives vendors a secure and fair way to bid.

Tags: CPR specification ,argosy cable ,fire safe cable ,eu standard cable ,chris smeeton
Contributing Author Chris Smeeton Click to read
Avid and Rohde & Schwarz
Ciaran Doran

Rohde & Schwarz is the perfect ingest partner to build flexible workflows with Avid.

Tags: Rohde and Schwarz ,avid ,spycernode ,editing ,asset management ,venice
Contributing Author Ciaran Doran Click to read
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