Sony PMWF3L/RGB User manual

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The Journal of Art, Technique and Technology in Motion Picture Production Worldwide
Jon Fauer’s
SONY PMW-F3
Special Report

2Sony PMW-F3
Sony Affordable 35...
First unveiled at NAB 2010 by Alec Shapiro, Senior VP of Sony
Professional Sales and Marketing, it was quickly put under glass.
e camera remained under glass at IBC, attracted much interest,
more speculation, and only non-disclosable smiles from Sony sta
about the sign that said, “Aordable 35mm Camera.”
e IBC press release was short: “Sony plans to introduce an
‘Aordable 35mm Camera’ to join the F35 and the SRW-9000PL.
e demonstration of an R&D prototype will re-arm the goal of
establishing a 35mm line-up to cover applications from high budget
to lower budget production.” Another big sign above the aordable
prototype and its 2 Sony Cinealta PL camera siblings (F35 and
SRW-9000PL) proclaimed, “It’s a 35mm World.” Absolutely.
Sony’s Alec...
Two months aer IBC 2010, on a cold, sleety November 8th, Alec
was back—this time on the loy 35th oor of Sony’s New York
Madison Avenue headquarters, ready to introduce the new camera
to the press, and the world.
e evolution was complete: the new camera is called PMW-F3,
the third 35mm Cinealta Digital Camera. “Aordable” was an
understatement.
e PWM-F3L package be will shipping end of January or early
February as a basic camera with PL adaptor (no lenses): list price
will be around $16,000. Yes, the comma is in the correct place:
$16K. e PMW-F3K package consists of the camera, PL adaptor,
and 3 Sony PL Primes, with a list price around $23,000.

3Sony PMW-F3
Sony PMW-F3

4Sony PMW-F3
e new Sony PMW-F3 camcorder is another step in the
democratization of cinematography—a 35mm format digital
camcorder that is lighter, smaller, faster, cheaper. Unveiled as an
“aordable 35” prototype at NAB, it was introduced at USC on
November 17th with lm students and independents in mind.
But its appeal is greater. e body weighs a meager 5.3 lbs (2.4
kg). Many lenses weigh more: instead of attaching a lens on this
camera, you’ll oen put the camera on a lens. (See lens charts later
in this issue.) Power consumption is an astonishingly low 24 Watts.
e Sony F3 uses an on-board 12 volt battery like the BPU-60 for
about 3 hours of run-time. ere are no fans.
e PMW-F3 camcorder has a Super 35mm single CMOS sensor:
23.6 x 13.3 mm, which is close to 35mm 3-perf 1.77:1 motion
picture format. e newly developed Sony Exmor CMOS imager
promises high sensitivity and low noise levels. e ballpark
sensitivity rating is ISO 800 (1600 in S-log), with an exposure
range greater than 13 stops. Up to now, Sony has been using CCDs
for digital motion picture camcorders. Since image sensors for
motion picture production must consider characteristics such
as sensitivity, dynamic range, and smoothness of motion—by
enlarging the size of each pixel in the new Exmor CMOS sensor,
Sony achieved high sensitivity, low noise, and good image quality.
Looking at the front, you notice two distinctive things. e F3 has
a PL mount. But it’s really an adaptor. Remove it by turning the
mounting ring on the body counter-clockwise. Underneath is a
new stainless-steel Sony F3 mount. It is a little wider than a PL,
and reminiscent of Sony EX3 mounts.
e ange focal depth is remarkably shallow, which translates
into lenses that may be non-retrofocus, (think Leica M series
rangender) and best of all, opens up a world of adaptors. And, as
if to prove this point, every PMW-F3 camera ships with a Sony F3
to PL mount adaptor. e PL mount has lens contacts in place for
Cooke /i Technology and ARRI LDS.
What does this all mean? Alfred Pi may have predicted correctly:
it’s not just a PL mount camera world; cameras can now have
innite choices of 35mm format interchangeable mounts. e
DSLR revolution conrmed the appeal of larger single sensors
with their shallower depth of eld.
e PWM-F3L package is the basic camera with PL adaptor—no
lenses—with a list price around $16,000. e PMW-F3K package
consists of the camera, PL adaptor, and 3 Sony PL Primes: 35, 50,
and 85 mm T2.0. is kit will cost around $23,000. e PL lenses
will support Cooke /i Technology. We also learned that Sony is
planning an aordable zoom lens with the Sony F3 mount (not
PL). e shorter ange depth should enable this lens to be smaller
and lighter than current PL zooms.
e PMW-F3 is based on the XDCAM EX platform. is is Sony’s
third 35mm CineAlta Digital Camcorder. e other two are F35
and SRW-9000PL. eir specs still exceed the F3, but this camera
is no slouch, and footage shot with all 3 cameras should intercut.
e F3, above all, is a handheld camcorder. It doesn’t sit on your
shoulder. You hold it like a Handycam, slipping your hand between
the prosumer/video style adjustable strap and plastic handle with
its zoom rocker control and start/stop button. It’s not a shoulder-
resting camera. e lighter and smaller camera body was made
possible by the development of the new CMOS sensor, which
Sony PMW-F3
Front view: F3 lens
mount with PL
adaptor attached
Rocker control for
zoom lenses
Image plane
This is not a tape measure
hook at the image plane: it is a
carrying strap hook.

5Sony PMW-F3
consumes very little power, generates very little heat, and doesn’t
need a fan.
A tilting viewnder is attached at the rear of the top handle. It looks
similar to the HVR-Z7U nder, with about 1.2 million pixels. An
LCD monitor pivots out from the camera’s le side. I hope the next
model has a detachable nder that can mount either at the rear or
in front for shoulder-resting, and the 1/4-20 tripod mounts on the
bottom are replaced by industry-standard 3/8-16.
At the rear of the F3 are 2 Sony SxS ExpressCard slots. e F3
records natively onto SxS cards at 35 Mbps in 4:2:0 8-bit XDCAM
EX format. e SxS cards are formatted in standard FAT le
format; a 32 GB card will record 100 minutes in highest quality.
Many users will be happy with this. But, like Oliver Twist, many
will want more. And they can have more–with onboard SxS cards
as immediately editable proxies, while simultaneously recording
to a higher standard. at might include 4:4:4 10-bit S-Log HD-
SDI dual link to an SRW-1 /SRPC-1 SRW tape recorder at visually
lossless 440 and 880 Mbps or (next year) 1 TB Solid State Memory
Cards with potentially even greater data rates.
HD-SDI dual link outputs enable external recording (4:2:2 1080
50/59.94P normal; and RGB 1080 23.98/25/29.97PsF as an option).
You’ll be able to select S-Log and HyperGamma to seriously
increase the dynamic range. S-Log is Sony’s take on RAW “Digital
Negatives.” e image, uncorrected, looks pale and washed out
(like a negative), but when a Look-Up Table (LUT) is applied,
shows the full dynamic range of the image, giving you greater
exibility for color and contrast correction in post.
Recording formats include 1920x1080, 1440x1080, and 1280x720
at 23.98/25/29.97p, 50/59.94i and, in DVCAM mode, 25/29.97PsF
and 50/59.94i. Under- and overcranking is called S & Q for “slow”
and “quick” recording, from 1 to 30 fps at 1920 x 1080 (17 to 30
fps in dual-link mode) and 1 to 60 fps at 1280 x 720 (17 to 60
fps in dual-link mode). Sony’s column-parallel A/D converter
mechanism makes 60 fps possible with less noise.
Who’s going to shoot with Sony’s F3–and how? If you’re a student
or independent, you’ll probably take the simplest package possible:
a zoom or primes, record to SxS onboard cards, and go directly to
edit. Of course, you’ll be sure to diligently back up those SxS cards
using Sony’s PXU-MS240 Mobile Storage Device, which not only
backs up the cards, but also carefully checks the data to be sure it’s
all there (parity). Next, you’ll copy the SxS card to your Avid or
Final Cut Pro system. (Go to sony.com/cinemon to download the
Sony Cinemon plug-in. It enables MPEG to be transparent to FCP
Quicktime. You’ll be able to edit natively in FCP, with drag and
drop capability. All les will be instantly viewable on a Mac. Avid’s
AMA (Avid Media Access) plug-in mounts the XDCAM EX les
directly into Avid Media Composer.)
When shooting documentaries, commercials or TV, you might
follow a similar path. Of course, you will not reformat your SxS
cards until the job is safely completed and many archives and
copies have been cloned. Cards are relatively cheap. e dreaded
word “Oops” is very expensive when a once-in-a-lifetime scene
is reformatted. I shudder when I see people reformatting cards
during a job. It’s like re-recording over your existing videotape.
High-end productions, recording to SR tape or memory, should
soon have native support of SR codec on Avid and Final Cut Pro.
e HD-SDI outputs of the Sony F3 will be eyed with great interest
12 VDC
4-pin XLR
dual SxS Card
slots
HD-SDI dual
link Out
HDMI Out
Composite
Video Out
2x USB ports
700 Remote
Control Port
3D Link

6Sony PMW-F3
• Weight, body only: Approx. 2.4kg
• Size, body only: (W x H x D): 151 x 189 x 210mm
• Power: DC 12V; DC input: XLR type 4-pin (male)
• Power consumption: Approx. 24.0 W
• Battery operating time: Approx.130 Min (w/ BP-U60)
• Recording format: MPEG-2 Long GOP
• HD HQ mode: VBR, maximum bit rate: 35 Mb/s, MPEG-2 MP@HL
HD SP mode: CBR, 25 Mb/s, MPEG-2 MP@H-14
SD mode: DVCAM
• Audio: Linear PCM (2ch, 16-bit, 48-kHz)
• Recording NTSC:
HD HQ mode: 1920 x 1080/59.94i, 29.97p, 23.98p,
1440 x 1080/59.94i, 29.97p, 23.98p,
1280 x 720/59.94p, 29.97p, 23.98p
HD SP mode: 1440 x 1080/59.94i, 23.98p
SD mode: 720 x 480/59.94i, 29.97p
• Recording PAL:
HD HQ mode: 1920 x 1080/50i, 25p,
1440 x 1080/50i, 25p,
1280 x 720/50p, 25p
HD SP mode: 1440 x 1080/50i
SD mode: 720 x 576/50i, 25p
• Lens mount: PL mount (with supplied lens mount adapter)
• Imager: Super 35mm size Single Chip Exmor CMOS Image Sensor
• Built-in ND optical filters: OFF: Clear, 1: 1/8ND, 2: 1/64ND
• Shutter speed: 1/32 - 1/2000 sec
• Slow Shutter (SLS): 2, 3, 4, 5, 6, 7, 8 frame accumulation
• 720P: 1 - 60 fps selectable (17-60 fps when HD-SDI Dual Link active)
• 1080P: 1 - 30 fps selectable (17-30 fps when HD-SDI Dual Link active)
• White balance: Preset, Memory A, Memory B/ATW
• Gain: -3, 0, 3, 6, 9, 12, 18dB, AGC
• Audio input: XLR Type 3-pin (female) x2, LINE/MIC/MIC +48V selectable
• Composite output: BNC (x1), NTSC or PAL, S-Video output
• SDI output: BNC (x1), HD-SDI/SD-SDI selectable
• HD-SDI Dual Link Out: BNCx2 4:2:2 1080 50/59.94P 10-bit output
• i.LINK: IEEE1394 S400 Connector
• Timecode in: BNC (x1); Timecode out: BNC (x1); Genlock in: BNC (x1)
• USB: Mini Type-B connector and standard USB
• HDMI output: HDMI connector (Type A)
• Viewfinder: 0.45”, Aspect Ratio 16: 9
• Built-in LCD monitor: 3.5”, 16: 9, Hybrid (semi-transmissive) type
• Media: ExpressCard/34 slot (x2)
by aer-market recording gurus at Codex, Cinedeck, etc.
3D Link is a future option that connects two F3 cameras in sync for
stereo shooting. When connected, both cameras can be managed
by one remote control. Genlock in and Timecode out are handled,
along with Metadata. You’ll be able to record the le and right
cameras onto one memory card, if you like.
e camera that began as the “aordable 35mm” prototype may
soon become “the awardable 35mm” camera—providing an
innovative avenue to award-winning productions.
The right side of the camera has a familiar Sony
camcorder handgrip with zoom rocker control–a
clear indication of commitment to an upcoming
zoom lens specific to the F3. There are two 3-pin
XLR audio connectors (Line/Mic/+48v).
SONY PMW-F3 Specs

7Sony PMW-F3
Cooke S4/i
with /i Data
contacts and
connector
ZEISS/ARRI Master
Prime with LDS
Lenses
e PWM-F3L package consists of the camera
with PL adaptor (no lenses). e PMW-F3K
package includes the camera, PL adaptor, and 3
Sony PL Primes: 35, 50 and 85 mm, T2.0.
Two custom zooms are also in the works, using
Sony’s F3 mount.
Since the F3 has a very shallow ange focal depth,
a huge array of lenses can be used with all kinds
of adaptors.
Cooke /i lens contacts
at 12 o’clock.
Every PMW-F3 camera ships with a PL mount adaptor. It has lens contacts in place
for Cooke /i Technology and ARRI LDS in the 12 and 3 o’clock positions. Lens in-
formation (metadata, T-stop, focal length, aperture, serial number) can be supplied
continuously, in real time.
ZEISS/ARRI LDS
lenses have contacts
normally positioned at
3 o’clock.
Sony 35mm format
PL Primes: 35, 50,
85 mm. T2.0
Sony PL Primes
Sony F3 Mount and PL Adaptor

8Sony PMW-F3
by Seth Emmons
ose of us who spend way too much time on camera technology
websites and travel the major industry tradeshow circuit like to
think we’re always one step ahead. We trac in substantiated
rumors and informed speculation. We don’t guess at what’s coming
next—well, some of us do. Many of us thought we knew what to
expect from Sony’s Super 35mm launch at the George Lucas
Building on the University of Southern California’s Los Angeles
campus. We were in for some surprises.
Sony’s original promotional images for the evenst showed a cine-
style mattebox and cine lens poking out of a red cloth with what
looked like a camcorder-sized bump behind it. Many guessed
(correctly) that it would be the new XDCAM EX-like 35mm
digital camera that Sony had teased at NAB and shown under
glass at IBC. Sure enough, preliminary specs on the PMW-F3 were
“leaked” on the Sony UK website a week before the event.
Sure enough, Sony’s Peter Crithary, Marketing Manager,
Production, gave those in attendance an in-depth presentation on
the features of the PMW-F3. A new 35mm digital camera with a
huge amount of horsepower for such an aordable little package
that ts seamlessly into Sony’s existing motion picture camera line.
We were treated to a screening of material shot on the F3: two shorts
by USC students and faculty, and one short by Sam Nicholson,
ASC of Stargate Studios. Sam was the same cinematographer who
shot the Sony F23/F35 demo “oroughbred.”
e footage showed that the F3 has an impressive dynamic range,
even when recording directly to SxS cards. Nicholson’s short
included a good amount of nighttime exteriors, all shot with
available light and the camera set to 18db gain, which was one of
the features that impressed him most.
Nicholson said, “It’s like glass. is is one of the best signal-to-
noise ratios on any digital camera I’ve ever seen. We cranked it
up as high as the camera would go and couldn’t nd the noise
in it.” However, the camera he used only had an Exposure Index
of 800. With the upgrade option to S-Log, Sony estimates the EI
“conservatively” at 1600.
Crithary also came up with the biggest surprise of the night. SR
Memory is closer than you think, and more aordable. Although
he declined to put a price tag or delivery date on the SR Memory
recorder, called SR-R1, he did expect it to be within reach of many
cinematographers. e ability to record up to 440 Mbs (and higher)
onto solid state, RAID-5 protected cards of up to 1Tb should meet
the needs of any high-budget, VFX-heavy feature.
As with all Sony cameras, one can rest assured that when the
camera arrives the post production path will be ready and waiting
for it. e PMW-F3 is no exception. e onboard SxS cards with
XDCAM EX 4:2:0 8-bit format provide the proxies with LUTs
baked in for oine editing. e dual link HD-SDI outputs provide
RGB 10-bit S-Log (available by soware upgrade) as the master
format (recordable to SRW-1 tape now, SR-R1 solid state down the
road). And for on-set monitoring, enjoy a 4:2:2 10-bit image with
LUTs on your Sony BMV-L231. Use the EDL from your proxies
to pull from the S-Log originals and let the folks in post do what
they do best.
All of this originates from a $16,000 camera.
Sony F3 Launch in LA

9Sony PMW-F3

10 Sony PMW-F3
Solid State Memory
Sony HDCAM SR solid state memory cards
have been announced, with a capacity up
to 1TB and sustainable transfer speeds
exceeding 5Gbps.
e SR-R1 Memory Recorder was
announced at the recent F3 launch at USC
School of Cinematic Arts. e SR-R1 will
record onto solid state memory cards at
220Mbps and 440Mbps. e unit can handle
Single Link 4:2:2, two HD-SDI outputs for
4:2:2 1080/60p, 3G and Dual Link RGB at
440Mbps, all of which the PMW-F3 can
output to the SR-R1.
In addition, the SR Memory format has
the capability of simultaneous dual stream
recording, which opens up the possibility of
3D stereo shooting from two cameras (le-
eye, right-eye) up to 30p onto one recorder
and one Memory Card. is is the same
core technology announced for Sony F35
and SRW9000PL cameras.
SR-R1 Memory Recorder
PMW-F3 camera
Actual 1 TB Memory Card
Prototype Memory Card

11Sony PMW-F3
Sony’s SR Memory format has
the capability of simultaneous
dual stream recording, which
opens up the possibility of
3D stereo shooting from two
cameras (left-eye, right-eye) up
to 30p onto one recorder and
one Memory Card.
SR-R1 Memory Recorder
F3 3D
Two F3 cameras can currently sync together
for 3D shooting using Genlock.
3D Link is a future option that will connect
two F3 cameras in sync for stereo shooting.
When connected, both cameras will be
managed by one remote control.

For further details about the Sony PMWF3: www.sony.com/PMWF3
To see shorts shot with Sony PMWF3: www.sony.com/videON
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