Sony PMWF3L/RGB, XDCAM EX PMW-F3 Brochure
The Art and Technology
of the F3
PMW-F3 Super 35mm XDCAM EX™ Camcorder
Our paintbrush. Your pictures.
Clockwise from top left: Alister Chapman helped
capture Simon Le Bon of Duran Duran in concert
at the Manchester Arena; Billy Zane stars in “The
Ghost of Goodnight Lane,” directed by Alin Bijan;
Dennis Dillon used the F3 to cover the Royal
Wedding at Westminster Abbey; Zach Zamboni with
Anthony Bourdain and Erik Shirai in Singapore for
“The Layover;” Xiao Zheng in “The Princess and the
Clown” directed by Andrew Jeric, MFA candidate at
the USC School of Cinematic Arts.
The F3 is also a purebred Sony CineAlta™ camera, embodying the CineAlta heritage that
began with the world’s first 24p HD camcorder, the Sony F900. CineAlta products have helped
create feature films that grossed over $13 billion, not to mention episodic TV that dominates the
primetime schedule. The F3 fully reflects Sony’s expertise in optics, image sensors, digital signal
processors, digital encoding and professional-grade workflows. And the F3 comes from the same
factory as the F35 and F65, cameras famous in high-end cinematography.
In just a few short months, the Sony PMW-F3 has made some amazing pictures.
Imagine what it can do for you.
A motion picture camera cannot entertain, enlighten or engage an audience until a
cinematographer puts it to work. In this respect, the Sony ® PMW-F3 Super 35mm digital
camcorder has been exceedingly fortunate. Brilliant artists have used the F3 to create
beautiful pictures in a full range of productions. These include everything from theatrical
features to concert videos, TV commercials, news, reality TV, natural history and corporate.
Why the F3? Because it’s affordable, knocking down barriers and making 10-bit Super 35mm
cinematography accessible to more DPs. Because it’s compatible, accepting the entire
ecosystem of PL mount lenses, Sony cinema lenses using the camera’s native FZ mount
and other lenses via third-party FZ mount adaptors. Incredible low light performance with
the latitude of 10-bit S-Log and the precision of 4:2:2 and uncompressed 4:4:4 RGB output.
Previously optional, 10-bit S-Log and 4:4:4 are now standard capabilities.
21
Super 35 imagery
Here is Super 35 depth of field,
Super 35 angle of view and
compatibility with 35mm cine
lenses. It’s all made possible by
a Sony CMOS sensor designed
expressly for the PMW-F3.
FZ lens mount
The gateway to a world of lenses,
the native FZ mount accepts the
supplied PL mount adaptor, plus
a wide selection of third-party
adaptors for Canon®, Nikon® and
two-thirds inch lenses.
12.5 stops of latitude
Don’t be afraid of the dark. Or
the sun. The F3 has the exposure
latitude and 14-bit A/D converter
to pull detail out of the deepest
shadows and brightest highlights.
Uncompressed 10-bit output
Compared with 8-bit, 10-bit output
means higher coding precision,
64 times as many colors and
smoother gradations in skin tones
and sky. It’s also better suited to
corrections in post.
10-bit S-Log with LUTs
You want maximum highlight
detail, maximum shadow
detail and maximum range of
adjustment in post. That’s what
10-bit S-Log delivers. Formerly
an option, it’s now standard
equipment.
1080/60p 4:2:2
Output 60 Full HD progressive
frames per second, a perfect
match for the SR-R1 SRMASTER™
recorder. Generate beautiful
slow motion by adjusting the
frame rate in post-production.
10-bit 4:2:2 & 4:4:4 RGB color
For the most demanding
bluescreen and greenscreen
compositing, the camera
outputs both 10-bit 4:2:2 and
4:4:4 color sampling. This
supplements the onboard 4:2:0
color of XDCAM EX recording.
3G-SDI
10-bit 3G-SDI 4:4:4 output
supports up to 3 Gigabits per
second, enabling one BNC
cable to do the work of two.
Eight technologies
in the service of art.
43
Exmor™ CMOS sensor
As a world leader in semiconductor image sensors, Sony
sought to minimize the “rolling shutter” artifacts common
among CMOS cameras. Conventional CMOS sensors use
only a handful of analog-to-digital converters, creating
a traffic jam that slows down the readout process and
exacerbates rolling shutter. Sony’s Exmor™ CMOS design
supplies each column of pixels with its own, dedicated
converter. The sensor has literally thousands of converters,
reducing rolling shutter to a minimum. The sensor’s
high speed enables the F3 to read every pixel, even
when overcranking at 60 frames per second. There’s no
sacrifice in resolution or focal length. The Exmor design
also shortens analog signal paths for an extraordinary
reduction in image noise.
Optimized resolution
The PMW-F3 sensor was designed from the ground up for
moving images. Its 2.5 K resolution provides the optimum
number of effective pixels for HD, with superb image
detail, fine texture, high sensiti vity and extreme exposure
latitude.
Exceptional cinematic imagery: the Exmor Super35 sensor
The visual language of motion pictures is inextricably tied to the image format of the camera.
That’s why Sony designed the PMW-F3 with a large single sensor, similar in size to the Super
35mm 3-perf film frame. With Sony’s Exmor® Super35 sensor, you get angles of view like a film
camera. You get shallow depth of field, to enable your subject to stand out gracefully from
the background. You get beautiful bokeh. All the familiar cine lenses behave in all the familiar
ways, to achieve predictable, comfortable results. The large sensor also provides high sensitivity
and the clean, low-noise images that have so many cinematographers nodding with approval.
Base sensitivity is ISO 800, specified at F11 with 63 dB signal-to-noise ratio.
The resemblance
to the 3-perf 35mm
film frame is not
an accident.
28.6 mm
14 mm
24.9 mm
27.1 mm
28.6 mm
14 mm
13.3 mm
24.9 mm
23.6 mm
35mm motion picture film (3-perf)
Sony PMW-F3
65
OLPF tuned for motion pictures
The typical DSLR image sensor and its optical low-pass filter
(OLPF) are optimized for stills. This can have a pernicious
side-effect: aliasing, otherwise known as moiré can appear
on repeating, lined patterns in clothing, buildings or
household objects like venetian blinds. The patterns also
move, distracting audiences and taking them out of the
story. Because Sony incor porates an image sensor and OLPF
designed from the ground up for moving pictures, the F3
minimizes these distortions.
Shallow depth of field at work: frame grabs from Alin Bijan’s
“The Ghost of Goodnight Lane,” shot with the F3.
“
The Super 35 sensor
really makes network
news anchors
punch out from the
background.
”
—Dennis Dillon, freelance DP
for “60 Minutes” and “48 Hours”
“My clients come from a 2/3-inch broadcast camera
background. But the pictures out of the F3 are really opening
people’s eyes. Having a Super 35 sensor enables us to
completely change our approach to shooting field interviews,
where we’ve got to work in the room we’re given. With 2/3inch, I’d always be fighting the background, fussing with lights
to create the least distracting, most flattering shot. With the
F3, the background simply blurs out. It’s the first time many
of the anchors have seen themselves punch out from the
background like this. They love the look. In fact, Scott Pelley
of ‘60 Minutes’ doesn’t want to work with any other camera.
He suggested that I bring the F3 into the studio. I reminded
him that his expensive set has been designed with 2/3-inch
cameras in mind.
“I compare the F3 to Neapolitan ice cream: chocolate,
strawberry and vanilla all in one. It’s easy to light, gives
you beautiful depth of field and incredible exposure
latitude. I shot a time lapse of Westminster Abbey for the
Royal Wedding and the way the F3 held the exterior day
contrast blew my clients away. It really pulls detail out of the
shadows.
“I also find myself using half the key light I’d need with a
smaller imager. And the F3 sensor is so quiet, I think nothing
of using 12 dB gain. In fact, I shot a pre-dawn scene for a
‘60 Minutes’ piece on homeless families. The show typically
runs a shot for three seconds. This picture was so beautiful,
they let it run for eleven seconds.”
8
From Cooke to Angenieux, Fujinon, Zeiss and Leica, 35mm Positive Lock (PL) mount motion
picture lenses inspire critical appreciation and passion among the professionals who use them.
A broad infrastructure of movie production has arisen to exploit the creative potential of this
glass. Not only does the PMW-F3 register beautiful pictures with these lenses, but the PL mount
detaches from the camera, revealing Sony’s innovative FZ mount. While some cameras restrict
you to a single lens mount, the F3 provides this second mount at no extra charge. This opens up
unique opportunities.
Native Sony FZ mount
The native FZ mount has a robust locking ring and a
very short flange focal distance. This enables the F3 to
accept FZ mount lenses directly, 35mm cine lenses via the
supplied PL mount adaptor, plus a universe of SLR lenses
and DSLR lenses via third-party adaptors—all without
optical degradation. The FZ mount’s electronic contacts
help Sony provide Super 35mm cinematography with
a full range of automatic features. Back focus can be
optimized by a quick adjustment with an Allen wrench.
PL mount with Cooke™ /i and
ARRI™ LDS contacts
The camera’s supplied PL mount adaptor locks securely on
top of the native FZ mount. Instead of cumbersome shims,
a simple Allen wrench helps you immediately nail back
focus. Electronic contacts for both the Cooke /i and ARRI
The PL mount
detaches to reveal
the camera’s
native FZ mount.
The hot shoe contacts are for the Cooke /i system (at the 12 o’clock
position) and ARRI LDS system (at 3 o’clock).
Lens adaptors for even more choices
Because of flange focal distance, putting a still camera
lens on a PL mount camera can be a major challenge. But
putting a still lens on the FZ mount can be easy, with the use
of commercially available lens adaptors. This can be a major
advantage in meeting a budget or satisfying special needs.
• Adaptimax Canon EF to FZ mount
• Birger Engineering Canon EF to FZ mount
• MTF MTCANEFF3 Canon EF to FZ mount
• MTF MTCANFDF3 Canon FD to FZ mount
• MTF MTNIKGF3 Nikon G/DX to FZ mount
• MTF MTB4F3 2/3-inch B4 to FZ mount
• IB/E Optics HDx35 2/3-inch B4 to PL mount
Performance you can afford
Because still lenses are designed for still pictures, they can behave badly when pressed into
service for moving pictures. Gotchas like focus breathing can become unwelcome guests in
even the simplest shot. That’s why Sony decided to match the affordable PMW-F3 with a new
series of reasonably-priced lenses designed expressly for cinematography. Backed by decades
of Sony expertise in lenses, these optics incorporate advanced glass for superb image fidelity.
Together, the F3 and Sony lenses make legitimate Super 35mm production more accessible
than ever.
Sony PL Mount Lenses
• PMW-F3K kit primes. The PMW-F3K kit includes the
camera plus three Sony PL-mount prime lenses.
Compact and cost-effective, all three have consistent
operation, including a common location for the follow
focus gear and a common 95 mm filter diameter.
The set includes a 35mm, 50mm and 85mm, all with
a maximum aperture of T2.0. Sony’s design optimizes
resolution while minimizing geometric distortion,
vignetting and focus breathing. For beautiful bokeh, all
three lenses incorporate an eight-blade iris.
• 11-16mm T3.0 PL zoom. This wide-angle 1.5x zoom is
sold separately as the SCL-P1 1X15.
Sony has decades
of experience in
pro lenses.
Sony FZ Mount Lens
• 18-252mm T3.9-6.8. Ideal for run-and-gun projects, the
SCL-Z18X140 delivers features you might not expect in
Super 35mm shooting. These include auto/manual focus,
auto/manual iris, servo/manual zoom and incredibly
effective optical image stabilization. The rocker on the
camera handgrip controls the zoom—just as muscle
memory tells you it should.
Metadata from the SCL-Z18X140 lens can be viewed on
a monitor connected to the PMW-F3 or stored on the
SxS Pro card. Iris, focus and zoom data can be utilized in
motion control rigs and VFX processing. This is also useful for
continuity in re-shoots.
One camera: two lens mounts
Lens Data System (LDS) interfaces enable rich transfer of
lens metadata, including your settings for zoom, focus, iris
and depth of field. The camera automatically captures
these settings on a frame-by-frame basis to the onboard
XDCAM EX recorder. The metadata is fully available in
postproduction. It’s even accessible in Sony’s free XDCAM®
Browser software.
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12
“
Pairing up the F3
with ARRI Alura and
Optimo lenses, the
images were jaw
dropping.
”
—Alister Chapman,
Cinematographer,
Duran Duran in Concert at the
Manchester Arena,
available on DVD and Blu-ray
Disc, Summer 2012
“I got a call from Den Lennie and James Gavin of Hangman
Studios. Did I think we could shoot a Duran Duran concert
with just 7 days to prepare? Of course I said yes. So James
and Den got together with Director Gavin Elder who has
been working with Duran Duran since 2003 and the magic
started to happen.
“Shooting a concert with Super 35mm is a challenge. It’s not
as easy as traditional broadcast, not in any way. But when you
start pairing up 12 PMW-F3s with 1000 mm, yes 1 meter, lenses,
beautiful ARRI Alura 18-80mm and Optimo 24-290 mm lenses,
shooting an incredibly dynamic light show at a massive sellout arena concert, I think you can see why this project was
so exciting!
“My role: camera setup, creating a custom picture profile,
helping on lens and kit choices, on-site tech support and then
operating one of the two PMW-F3s using the MTF B4-to-S35
adaptors that I designed along with a Canon 10 to 400 mm
zoom. When you add the 2.5x magnification factor of the
adaptor, that equates to a 25mm to 1000mm zoom. My role
was to shoot the close ups of lead singer Simon Le Bon from
the Front of House area, 160 feet from the stage. With such a
long lens the Depth of Field was tiny and the shoot was hard
work, but incredibly rewarding.
“The end result was an electrifying atmosphere and from
what I’ve seen so far, jaw dropping images. This is one of those
projects I’ll remember for a long, long time.”
11
S-Log EI mode
With firmware version 1.20, Sony introduced a refinement
to the monitor LUTs called S-Log EI mode. This enables you
to optimize the monitor image by boosting the gain of the
monitor LUT. You can select EI 800, 1600 or 3200—without
affecting the recorded image.
12.5 stops of latitude, 10-bit S-Log
Sony understands that you want the maximum highlight detail, shadow detail and range of
adjustment in post. Even with conventional gamma, the PMW-F3 delivers a tremendous 12.5
stops of exposure latitude, while Hyper Gamma curves optimize grayscale response. Going
further, 10-bit S-Log Gamma mimics the tonal response of film negative and preserves the full
dynamic range of the image sensor. Previously an option, S-Log is now a standard feature of
the F3. This logarithmic tonal curve optimally assigns the digital code values of the 10-bit RGB
components from deep shadow to bright highlights. Higher coding precision throughout the
tonal range preserves full flexibility in color correction. For seamless workflow, converters called
Look-Up Tables (LUTs) transform S-Log gamma back to conventional gamma.
From dark of night
to exterior day to
pyro, Sony S-Log
delivers amazing
images.
Original S-Log frame grab from Alin Bijan’s ‘The Ghost of Goodnight Lane’, shot with the F3. The “flat,” somewhat
washed-out look is typical of uncorrected S-Log.
The same image, corrected. Thanks to S-Log Gamma, the face is beautifully exposed, yet darker areas retain
phenomenal detail.
S-Log Output Options
• S-Log 4:2:0 capture to XDCAM EX internal recording
• S-Log 4:2:2 external recording via Link A HD-SDI output
• S-Log 4:4:4 external recording via Dual-Link HD-SDI
• S-Log 4:2:2 1080/60p external recording via Dual-Link HD-SDI
(requires free version 1.31 software update)
• S-Log external recording via 3G-SDI output
Viewing LUTs for client monitoring
In the S-Log workflow, the full beauty of the image can be
somewhat hidden. Without the correct decoding, S-Log
imagery has a “flat” look, missing punchy highlights and
shadows. While DPs may be accustomed to looking at such
Log encoded images, producers and clients may not. For
this reason, S-Log operation uses LUTs (Look Up Tables). A
Look Up Table is a small text file that maps the Red, Green
and Blue conversion from S-Log. The F3 comes with four LUTs,
which you can modify in Sony’s free CVPFileEditor software.
In addition, you can upload up to five custom LUTs. You can
use these same LUTs in many popular editing and finishing
tools including DaVinci™ Resolve™, Assimilate™ Scratch™,
Baselight™ FilmLight™, Final Cut Pro™, Quantel™ Pablo™
and Autodesk™ Lustre™. One of the camera’s built-in LUTs
converts S-Log Gamma to conventional Rec. 709 video for
real-time monitoring on the set and offline recording onto
SxS memory cards. Simultaneous recording of online and
offline material with identical time code enables efficient
post-production workflow.
• Simultaneous S-Log recording to HD-SDI output and LUT
applied to XDCAM EX internal recording
• Simultaneous S-Log recording to HD-SDI A output and
4:2:2 monitor LUT to SDI output (requires free version 1.31
software update
)
• Simultaneous S-Log recording to Dual-Link HD-SDI or 3G-SDI
output at 4:4:4 and 4:2:2 monitor LUT to SDI output (requires
free version 1.31 software update
)
Conventional Rec 709 video encoding quickly runs out of gas in the image
highlights. Sony’s 10-bit S-Log Gamma bends the curve to dramatically
extend the highlight handling to 800% of nominal peak white.
1000%900%800%700%600%500%400%300%200%100%
Video level
0%
0%
20%
S-Log
R709
40%
60%
80%
100%
R709
S-Log
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