Continuous Shutter for variables Preset Rotary Shutter Angles from 11.2 to including 144 and 172.8

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Kerrie Rich
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3 CMOS E Shutter Distortion Mechanical Rotary Shutter Continuous Shutter for variables Preset Rotary Shutter Angles from 11.2 to including 144 and 172.8

Eliminates more filtering front of lens Eliminates possible flares Offers ease of operation in remote situations ND 0.9 1.8 1.2 1.

4 Eliminates more filtering front of lens Eliminates possible flares Offers ease of operation in remote situations ND /64 1/16 1/32 1/8 optical transmittance stops 0.9: 1/8 OT = 3 Stops 1.2: 1/16 OT = 4 Stops (total) 1.5: 1/32 OT = 5 Stops (total) 1.8: 1/64 OT = 6 Stops (total)

5 Coming Soon: fps

6 Frame Rate Shutter Angle ND Setting Exposure Index White Balance Highlight Latitude Monitoring LUT

7 Shimmable PL Mount Cooke/i ARRI LDS

8 4X 2X

9 F65 Wireless Control CBK-WA01 (USB WiFi Adapter) Web/Tablet App

10 Camera is approx 14lbs w/accessories Camera uses approx 70w at 23.98

All Inputs and Outputs on Camera Genlock In for syncing two cameras sensors Shutter In for syncing two cameras shutters HD-Y Out 2x SDI Out (1

power the camera. R4 gets power from Camera 12v and 24v accessorty Outputs along bottom LENS Port (same as used on many ENG cameras EXT.

you would read) Assign 3 = Hi/Lo Key: Changes output LUT, The button toggles between high-luminance check (gain reduction), low-luminance check

11 All Inputs and Outputs on Camera Genlock In for syncing two cameras sensors Shutter In for syncing two cameras shutters HD-Y Out 2x SDI Out (1 at back and 1 at top I/O Remote: for a paintbox to control camera (RMB same protocol) Power (same as F23, F35) 12v/24v mixed, either can power the camera. R4 gets power from Camera 12v and 24v accessorty Outputs along bottom LENS Port (same as used on many ENG cameras EXT. I/O out (for other controlers) 2x USB outs - Connect the WiFi - SRK- CP1 Assign 1 = Mag 2x/4x, Assign 2= Mag Position (from top L to bottom R as you would read) Assign 3 = Hi/Lo Key: Changes output LUT, The button toggles between high-luminance check (gain reduction), low-luminance check (gain amplification), and normal. Assign 4 = (empty/good for Fan Mode/Auto2) Arri mounting plate Fan speed (auto 2 = quiet while recording) Memory Stick DUO

12 Traditional 4k Bayer Sony 8k Sensor

13 TWICE AS MUCH COLOR PER SAMPLE TWICE AS MUCH LUMINANCE PER SAMPLE LUMINANCE = RESOLUTION Traditional 4k Bayer Sony F65 8k Sensor

14 DEMYSTIFYING MARKETING MATH 2880 Total Photosites 8192 Total Photosites 5120 Total Photosites.5 Debayer Demosaic Debayer 2700 Arri Alexa Studio 1440 Horizontal Res 12 bit RAW 4096 Horizontal Res 16bit RAW RED Epic 2560 Horizontal Res 12bit RAW

15 1.9:

16 F65 full 17x9 (full sensor) 4x3 for 2x

17 Detail in Highlights Detail in Shadows

18 Rated at 800EI EI setting is NOT baked in Highlight Latitude at given EI from 18% Gray

19 Wider Color Gamut than 35mm print Accurate re-mapping of scene colors Greater range in Post Production

20 3200K, 4300K and 5500K Not a simple video white balance but a preset re-mapping of scene colors into the RAW file Each Setting is optimized for improved color reproduction similar to film stocks

Academy Color Encoding Specification 4K Developed by: The Academy of Motion Picture Arts and Sciences ACES is an IIF encoding specification that uses 16bit

21 Academy Color Encoding Specification 4K Developed by: The Academy of Motion Picture Arts and Sciences ACES is an IIF encoding specification that uses 16bit half-float precision (associated with the OpenEXR file format) to define a wide gamut digital color encoding appropriate for both photographed and computer generated images.

projection systems Camera& RAW& IDT& ACES& RRT/ ODT& Display& The Camera RAW is converted to ACES.

22 IDT s are designed for specific devices. For instance, we use an IDT made for the F65 Output Device Transforms (ODT s) are created for specific displays and projection systems Camera& RAW& IDT& ACES& RRT/ ODT& Display& The Camera RAW is converted to ACES.exr using an Input Device Transform (IDT) Grading, Compositing, Intercutting sources, Archiving: all done in ACES in 16 bit ACES files are viewed using viewing LUT s called Reference Rendering Transforms (RRT s)

Image Interchange Framework Developed by: The Academy of Motion Picture Arts and Sciences IIF is an image and color management architecture with a set of encoding specifications,

with 10bit Cineon encoding or HDTV standards.

23 Image Interchange Framework Developed by: The Academy of Motion Picture Arts and Sciences IIF is an image and color management architecture with a set of encoding specifications, transforms and recommended practices that enable the creation and processing of high fidelity images with greater dynamic range, wider color gamut and greater precision than possible with 10bit Cineon encoding or HDTV standards. Academy Color Encoding Specification Developed by: The Academy of Motion Picture Arts and Sciences ACES is an IIF encoding specification that uses 16bit half-float precision (associated with the OpenEXR file format) to define a wide gamut digital color encoding appropriate for both photographed and computer generated images.

24 Digital Files are the primary exchange format today Increased need to interchange unfinished images in digital form Multiple image file formats and encodings Multiple viewing transforms (Log vs. Lin, Film, 709, P3 etc) Existing standards are outdated Little (if any) metadata is exchanged Digital motion picture cameras can exceed current systems based on 10bit IIF maintains the greatest possible image fidelity from original source media

25 Helps to preserve the full range of highlights, shadows and color renderings captured in camera Allows for the option to light by eye rather than have to rely on video monitoring Enables future expansion for emerging Digital Motion Picture Camera technologies The first 16bit floating point post production pipeline Facilitates reliable interchange between images from different sources Provides colorists with a larger working palette and a better starting point representative of the actual light values captured on set.

27 Audio/Video Recorder Dockable to F65 4K - 16bit Linear RAW Recording 16 Channels of 24bit Audio Recording Coming: Record Variable Frame Rates 1-120fps Coming: SStP Recording at 220, 440 and 880 Mbps

28 Maximum Recording Time (min.)* Series S15 S25 S55 Speed 1.5 Gbps 2.5 Gbps 5.5 Gbps Model Name 1.5Gbps 2.5Gbps 5.5Gbps 4K Blue or Black 1-25fps Black Only >25fps SR-256S15 SR-512S25 SR-1TS25 SR-256S55 SR-512S55 SR-1TS55** Capacity 256 GB 512 GB 1 TB 256 GB 512 GB 1 TB HD 59.94i SR-Lite SR-SQ 422/ SR-HQ p SR-Lite SR-SQ 422/ SR-HQ 444 N.A i SR-Lite SR-SQ 422/ SR-HQ p SR-Lite SR-SQ 422/ SR-HQ 444 N.A PsF SR-Lite SR-SQ 422/ SR-HQ Uncompressed Uncompressed 444 N.A K 23.98PsF F65RAW N.A PsF F65RAW HFR N.A. N.A. N.A * Depending on the data rate of the recording signal (such as 4K, dual-stream, and I/O configuration), usable SRMemory card may be limited. In case of 3D recording, maximum recording time will be approximately half. ** SR-1TS55 card will be available in 2012.

29 Maximum Recording Time (min.)* Series S15 S25 S55 Speed 1.5 Gbps 2.5 Gbps 5.5 Gbps Model Name SR-256S15 SR-512S25 SR-1TS25 SR-256S55 SR-512S55 SR-1TS55** 1.5Gbps 2.5Gbps 5.5Gbps Capacity 256 GB 512 GB 1 TB 256 GB 512 GB 1 TB HD 59.94i SR-Lite SR-SQ 422/ SR-HQ p SR-Lite SR-SQ 422/ SR-HQ 444 N.A i SR-Lite SR-SQ 422/ SR-HQ p SR-Lite SR-SQ 422/ SR-HQ 444 N.A PsF SR-Lite SR-SQ 422/ SR-HQ Uncompressed Uncompressed 444 N.A K 23.98PsF F65RAW N.A PsF F65RAW HFR N.A. N.A. N.A * Depending on the data rate of the recording signal (such as 4K, dual-stream, and I/O configuration), usable SRMemory card may be limited. In case of 3D recording, maximum recording time will be approximately half. ** SR-1TS55 card will be available in 2012.

30 Both PC4 and PC5 are similar data transfer units that perform the functions: - Data ingesting via GbE or 10GbE - Data viewing via HD-SDI output - File Browsing and Viewing via a web-based GUI - Data backup to shuttle drive via esata SRPC-4 SRPC-5

31 4K Processing

32 SR-PC4 DIT Station (review/onset look)

33 SR-PC5 DAILIES Station (copy and prep)

34 ProRes DVD XDCAM DNX ALE 3D LUT CDL$ TC$ Baselight Sound$Sync$ Metadata$ Collec4on$ Color$ Grade$ DAILIES Station (Render and Archive)

F65 Digital Motion Picture Camera

F65 Digital Motion Picture Camera Elevating Digital Imaging to the Next Level In 1999, Sony released the first 24p digital motion picture production system. Over the years, we have refined the technology