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Sony XDCAM EX PMW-F3 Brochure Download Page 25

PMW-F3 Technical Data

Recording Format

HD/SD

REC mode

Recording 

Resolution

Frame Rate

Audio Format

Recording Time  

(w/ 64GB SxS-1)

NTSC mode

PAL mode

59.94p

59.94i

29.97p

23.98p

50p

50i

25p

HD

HQ 35 Mbps (VBR)

1920×1080

–

Yes

Yes

Yes

–

Yes

Yes

Linear PCM  
16 bit/48 kHz  
2 CH

Approx. 200 min

1440×1080

–

Yes

Yes

Yes

–

Yes

Yes

1280×720

Yes

–

Yes

Yes

Yes

–

Yes

SP 25 Mbps (CBR)

1440×1080

–

Yes

–

Over 59.94i

–

Yes

–

Approx. 280 min

SD

DVCAM  
25 Mbps (CBR)

720×480

–

Yes

29.97 PsF

–

–

Approx. 260 min

720×576

–

–

Yes

25 PsF

HD/SD

Recording Format

SDI/HDMI™/i.LINK I/O Select

i.LINK output

SDI output

HDMI output

Video output

i.LINK input

HD

HQ 1920/
HQ 1440/
HQ 1280

HD SDI

–

HD

–

HD-Y

–

SD SDI

–

SD

–

Composite

–

HD HDMI

–

–

HD

HD-Y

–

SD HDMI P

–

–

SD Progressive

–

–

SD HDMI i

–

–

SD Interlace

Composite

–

SD HDMI i & DVCAM

DVCAM

–

SD Interlace

Composite

DV (Display Only)

SP 1440

HD SDI

–

HD

–

HD-Y

–

SD SDI

–

SD

–

Composite

–

HD HDMI & HDV

HDV

–

HD

HD-Y

HDV

SD HDMI P & HDV

HDV

–

SD Progressive

–

HDV

SD HDMI i & HDV

HDV

–

SD Interlace

Composite

HDV

SD HDMI i & DVCAM

DVCAM

–

SD Interlace

Composite

DV (Display Only)

SD

DVCAM

HD SDI

–

–

–

–

–

SD SDI

–

SD

–

Composite

–

HD HDMI & HDV

–

–

–

–

–

SD HDMI P & HDV

–

–

–

–

–

SD HDMI i & HDV

–

–

–

–

–

SD HDMI i & DVCAM

DVCAM

–

SD Interlace

Composite

DV (Display Only)

Output/ Input Combination List

Specifications

General

Dimensions (W x H x D)

6 x 7 1/2 x 8 3/8 inches (151 x 189 x 210 mm) (PMW-F3L, without projection)

Weight

5 lb 4 oz (2.4 kg) (Camera only)

Power Requirements

DC 12 V (10.5 V to 17.0 V)

Power Consumption

Approx.24.0 W (Typical) (REC mode, HD-SDI Dual Link On, EVF On, LCD Monitor Off)

Operating Temperature

32°F to 104°F (0°C to 40°C)

Storage Temperature

-4°F to +140°F (-20°C to +60°C)

Continuous Operating Hours (with BP-U60)

Approx.130 Min (HD-SDI Dual Link On)

Approx.170 Min (HD-SDI Dual Link Off)

Lens (included in PMW-F3K only)

Focal Length

35 mm

50 mm

85 mm

Aperture Value

T2.0 to Close

T2.0 to Close

T2.0 to Close

Minimum Shooting Distance

0.35 m

0.5 m

0.85 m

Filter Diameter

95 mm

95 mm

95 mm

Camera

Image Sensor

Super 35mm Equivalent Single Chip Exmor CMOS Image Sensor

Built-in Filter

OFF: Clear, 1: 1/8ND, 2: 1/64ND

Sensitivity (2000 lux, Reflection ratio 89.9%, 

1920 x 1080/59.94i)

F11 (Typical)

S/N Ratio (1920 x 1080/59.94i)

63 dB (Typical)

Lens Mount

PL mount (with supplied lens mount adapter)

Shutter Speed

1/32 - 1/2000 sec

Slow Shutter

2, 3, 4, 5, 6, 7, 8 frame accumulation

Slow & Quick Motion

720p

1 - 60 fps selectable (17- 60 fps when HD-SDI Dual Link is active)

1080p

1 - 30 fps selectable (17- 30 fps when HD-SDI Dual Link is active)

White Balance

Preset, Memory A, Memory B/ATW

Gain

-3, 0, 3, 6, 9, 12, 18 dB, AGC

Gamma Curve

Standard Gamma x6, CINE Gamma x4, S-Log Gamma

Input/Output

HD/SD SDI OUT

BNC (x1) (HD-SDI/SD-SDI switchable)

HD-SDI Dual Link OUT

BNC (x2) 4:2:2 1080 50/59.94p 10 bit output; 4:4:4 1080 25/29.97p 10 bit output

VIDEO OUT

BNC (x1) (HD-Y signal or Composite signal)

HDMI OUT

HDMI connector (Type A) (x1)

i.LINK IN/OUT

IEEE1394 S400 4-pin Connector (x1)

AUDIO IN

XLR Type 3-pin (female) (x2), LINE/MIC/MIC+48 V selectable

AUDIO OUT

RCA (x2)

GENLOCK IN

BNC (x1)

TC IN/OUT

BNC (x1 each)

DC IN

XLR type 4-pin (male) (x1)

REMOTE

8-pin (x1)

USB

Mini TypeB connector (x1)

PHONES

Stereo Mini Jack (x1)

Display

View Finder

0.45 inch, Aspect Ratio 16: 9

LCD Monitor

3.5 inch, Aspect ratio 16: 9, Hybrid (semi-transmissive) type

Audio

Built-in Speaker

Monaural

Media Slot

Type

ExpressCard/34 (x2)

Interface

ExpressCard Compliant

Supplied Accessories

PL lens mount adapter, Stereo Mic, Windscreen, IR remote, Shoulder Strap, CD-ROM (XDCAM Browser, SxS device driver software, 

PDF version operation manual), Operational Manual, Warranty card, PL lens kit (PMW-F3K only)

MTNIKGF3  

Nikon G/DX to FZ Mount

MTF

Birger Engineering

IB/E Optics

MTCANFDF3 

Canon FD to FZ Mount

MTB4F3  

2/3-inch B4 to FZ Mount

Canon  

EF to FZ Mount

HDx35 2/3-inch  

B4 to PL mount optical

SCL-Z18X140 18-252 mm T3.9-6.8 

Power Zoom (FZ Mount)

Sony

Adaptors

PL mount is just the beginning

Canon EF Lenses (via third party adaptor)

CN-E14.5-60 mm T2.6 L S

CN-E85 mm T1.3 L F

CN-E30-300 mm T2.95-3.7 LS

CN-E15.5-47mm T2.8 L S

Canon EF Cinema Lenses (EF Mount, via third party adaptor)

CN-E24 mm T1.5 L F

CN-E50 mm T1.3 L F

Nikon Nikkor DX Lenses (via third party adaptor)

CN-E30-105 T2.8 L S

        48

47       

Sony does not support or endorse third-party accessories. Inclusion is for information purposes only.

Summary of Contents for XDCAM EX PMW-F3

Page 1: ...The Art and Technology of the F3 PMW F3 Super 35mm XDCAM EX Camcorder ...

Page 2: ...omes 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 Br...

Page 3: ...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...

Page 4: ...arge 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 provid...

Page 5: ...ook 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 ti...

Page 6: ... 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 ci...

Page 7: ...ul ARRI Alura 18 80mm and Optimo 24 290 mm lenses shooting an incredibly dynamic light show at a massive sell out 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 1...

Page 8: ...ternal 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 prod...

Page 9: ...ttern of old school fluorescents It was hideous But S Log was a lifesaver It gave us so much latitude in post that the color became soft and quite beautiful I had an interview shoot for the History Channel in the sun room of the subject s house I only used a Joker 800 and bounced it on him After bringing him up in post his face was great and the outside was perfectly exposed The combination of S L...

Page 10: ...ting package modest for interiors and night exteriors thanks to the incredible sensitivity and low noise of the F3 I also had to tackle a variety of day exteriors without the luxury of picking the perfect time of day or implementing serious grip artillery so we absolutely had to capture maximum dynamic range S Log encoding came through brilliantly We were able to tame the savage contrast push and ...

Page 11: ...is available for recording at the dual link HD SDI output The 60p frame rate enables overcranking for beautiful slow motion effects when played back at the cinematic frame rate of 24p And the overcranked signal can even be S Log encoded requires v1 31 firmware Expected with the F3 s v1 4 firmware update the SR R1 SRMASTER recorder will be able to record at 17 to 60 progressive frames per second in...

Page 12: ...y to the F3 is S Log gamma which retains absolutely everything the camera sees When you switch to S Log the difference is phenomenal It s like a whole other camera For VFX we could record uncompressed 10 bit 4 4 4 To save space we captured the rest of the show in Apple ProRes and to tell the truth it comes awfully close to uncompressed Shooting in ProRes means you can go straight from the camera t...

Page 13: ...and I could tell you this went wrong that went wrong It wasn t like we had fewer of those problems We didn t have any of them Your main goal as a filmmaker is to tell a story to convey emotion to be true to those elements The less attention you can pay to the technical aspects the more you can focus on the storytelling It certainly helps when you can rely on your cameras and equipment We had six S...

Page 14: ...5 Mbps Use the Drive Select switch to achieve maximum recording time It s ideal for direct recording or for backing up SxS cards straight from the camera Straight to edit In the edit bay the XDCAM EX codec provides straight to edit operation with leading NLEs from Sony Avid Apple Adobe and Edius The modest bitrate of XDCAM EX recording also enables fast easy file transfers over data networks and a...

Page 15: ...tions we find ourselves in every sort of scenario and often unexpected ones Sensitivity is very important in situations where you don t have a lot of time or control or where you want to tread lightly Bourdain often has dinner in the homes of ordinary families people who have never been in front of the camera Intensive lighting can be intimidating for them The F3 s sensitivity allows us a smaller ...

Page 16: ...ary 1 GB equals one billion bytes a portion of which is used for data management functions 30 29 Robust workflow The SRMASTER platform works with the SR Codec s established postproduction ecosystem and offers a rich choice of data transfer options For example the SR R1 supports a faster than real time file transfer interface called SRExpress Offered in cooperation with AJA SRExpress uses 3G SDI to...

Page 17: ... take the whole studio out with you For thesis films students have the opportunity to rent high end 35mm and HD camera packages but most of them come with multiple boxes of accessories With the Sony F3 it s just two or three The F3 gives us the flexibility of interchangeable lenses the teaching advantages of full manual operation Super 35 depth of field and tremendous latitude with S Log The F3 mu...

Page 18: ...nput and output GENLOCK IN The PMW F3 is a team player ready to work in multi camera productions with its Genlock Input i LINK Interface The i LINK IEEE 1394 interface transfers DVCAM or HDV signals to and from compatible PCs and hard drives HDMI Output The HDMI output supports connection up to 1080 60p for consumer televisions and compatible outboard recorders USB Mini B Connects the F3 directly ...

Page 19: ...any other movie you d see on a Friday night But I didn t have a studio budget The project never would have happened without the Sony F3 It s a game changer a camera that really levels the playing field Now you don t need a million dollars to make your movie We had a two ton package small enough to fit in the van There were three people on the camera crew plus three on lighting and grip Over the co...

Page 20: ...ubjects Time lapse To make a flower bloom before your eyes speed the sunrise or make the clouds rush by the F3 shoots time lapse The Interval Recording function captures individual frames at preset intervals from 1 to 50 seconds 1 to 50 minutes or 1 to 24 hours Selectable Gamma Curves Choose gamma curves to handle contrast and give a specific look to your image In addition to six standard gamma cu...

Page 21: ...greater precision A crucial part of ACES is the Academy Color Encoding Specification which uses 16 bit half float precision While Rec 709 HD recordings don t tap the potential of ACES the Sony F3 is well positioned to take advantage of ACES First the imager exceeds 12 stops of latitude and captures a wide color gamut Then the camera s S Log encoding 10 bit output and 4 4 4 capability far exceed Re...

Page 22: ...compression at very efficient data rates Compared to 8 bit recording left 10 bit recording provides four times the tonal values per channel for smoother more natural gradations 8 bit color banding is exaggerated for illustration purposes The supplied HD SDI outputs provide an uncompressed 10 bit 4 2 2 signal to outboard monitors and recorders 4 2 2 means that Cb and Cr samples are provided for eve...

Page 23: ...Unit ECM 673 9X Shotgun Microphone ECM 680S Stereo Shotgun Microphone UWP V1 Lav Mic Bodypack TX and Portable RX Wireless System BC L70 Two channel Simultaneous Charger Power Supply MS HX8G HX16G HX32G Memory Stick PRO HG Duo HX Series MEAD MS01 Media Adaptor for Memory Stick PRO HG Duo HX Series SBAC US10 SxS Memory Card USB Reader Writer BP U30 Lithium ion Battery Pack BP U60 Lithium ion Battery...

Page 24: ... 1x14 5 HK4 7x18 HK7 5x24 HK5 3x75 Optimo DP 30 80 mm Optimo DP 24 290 mm Optimo DP 17 80 mm Angenieux SCL P11X15 11 16 mm T3 0 Wide Angle 1 5X Zoom 50mm T2 0 Prime 35 mm T2 0 Prime 85 mm T2 0 Prime Supplied with PMW F3K CN E15 5 47mm T2 8 L SP CN E30 105 T2 8 L SP Sony Fujinon 46 45 The PMW F3 is compatible with all PL mount lenses using the supplied PL mount to FZ mount adaptor Sony does not sup...

Page 25: ...D 2 1 64ND Sensitivity 2000 lux Reflection ratio 89 9 1920 x 1080 59 94i F11 Typical S N Ratio 1920 x 1080 59 94i 63 dB Typical Lens Mount PL mount with supplied lens mount adapter Shutter Speed 1 32 1 2000 sec Slow Shutter 2 3 4 5 6 7 8 frame accumulation Slow Quick Motion 720p 1 60 fps selectable 17 60 fps when HD SDI Dual Link is active 1080p 1 30 fps selectable 17 30 fps when HD SDI Dual Link ...

Page 26: ...thout notice Sony CineAlta DVCAM Exmor HDCAM HDCAM SR i LINK Memory Stick PRO HG Duo SRMASTER SRMemory SxS Vegas XDCAM XDCAM EX and the Sony make believe logo are trademarks of Sony HDMI is a trademark of HDMI Licensing LLC HDV is trademark of Sony Corporation and Victor Company of Japan Limited JVC Carl Zeiss is a registered trademark of Carl Zeiss Inc All other trademarks are the trademarks of t...

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