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Sony 4K and HDR Technologies at Cine Gear Expo 2015

Sony Highlights Full Line of 4K and High Dynamic Range Technologies at Cine Gear 2015

 

F65 and F55 Cameras and BVM-X300 OLED Monitor Present HDR Imagery “Closest to the Reality our Eyes See Every Day”

 

At CineGear 2015, Sony is highlighting its full line of 4K production technologies, with expanded support for High Dynamic Range (HDR) workflows – from the F55 and F65 to the new 4K BVM X300 OLED reference monitor, which can output higher brightness, higher contrast, resolution and color gamut – a combination resulting in the highest quality HDR imagery for use on-set and in the grading suite.

 

Sony bvmx-300

The BVM-X300 reference monitor is designed for 4K HDR content mastering and marries seamlessly with Sony’s professional cameras. The BVM-X300 supports S-Log3 as an HDR EOTF because the S-Log3 is a widely prevalent gamma curve in the industry for efficient 10-bit workflows. In addition, to meet industry requirements, Sony is also releasing a new firmware version this summer for the BVM-X300 that will allow it to display HDR content as SMPTE ST2084, adding a significant feature to the monitor that fits well into HDR work environments.

 

Sony will demonstrate side-by-side comparisons of SDR and HDR throughout Cine Gear. Sony’s demonstrations at Cine Gear will also feature the enhanced versatility of Sony’s large sensor F65, F55, F5, and FS7 4K cameras, including the F55/F5’s version 6 implementing ProRes RGB for HD acquisition.

 

Rounding out Sony’s CineGear exhibit is the Catalyst Edit/Catalyst Prepare media production suite, supporting multiple formats, including 4K, RAW, and XAVC and the new PMW-PZ1 4K memory player.

Sony 4K cameras have four distinct features that allow them to achieve superior imagery and HDR:  S-Gamut, Sony’s ultra wide color space that is much wider than Rec. 2020; S-Log; picture resolution and 16-bit Linear RAW capture.

 

16-bit is the highest possible level of data precision to squeeze everything out of the camera and RAW is particularly appealing for productions because they can go back later to the camera negative data and re-grade for HDR displays without reshooting the content. 16-bit RAW enables the great results of the HDR grading process that could otherwise be limited when grading content with less precision.

 

Complementing Sony’s technology exhibit are exclusive screenings of recent motion pictures shot on F65 and F55 cameras, including the recent Disney release “Tomorrowland.”

Shot entirely with Sony F65 and F55 4K motion picture cameras, “Tomorrowland” is the world’s first live action cinematic release in 4K High Dynamic Range.

After extensive testing by the production team, the ultra-wide color gamut, 16-bit RAW, the image resolution and 14+ stops of dynamic range of the Sony F65s and F55s made them the perfect choice for capturing the filmmakers’ vision.

 

“The imagery from the F65’s and F55’s graded in High Dynamic Range looks nothing short of stunning,” said Peter Crithary, marketing manager for Sony Electronics. “HDR comes closest to the reality that our eyes see every day, and our cameras were designed to capture all the elements necessary for superior HDR processing and viewing: with 16-bit RAW, superior color gamut, tonal detail in challenging lighting conditions as well as exceptional dynamic range, color, deeper black levels and more. This is a fundamental change for the cinema-going experience.”
Sony F55The creative professionals on the “Tomorrowland” production team noted the significance of such a high-profile release in 4K HDR.

 

The movie’s cinematographer, Claudio Miranda, ASC, has previous experience shooting big-budget movies with the F65 and F55 cameras, and knew the imagery they were capable of producing.

“These cameras are HDR,” he said. “The camera always puts out more information than we will ever use.  We can add more contrast.  We can stretch our confines. The concept is having much more dynamic range in the theater.  HDR is interesting because it opens up the contrast. It’s like adding more bass to the subwoofers of an audio system. We can make explosions that don’t burn out. You can have an explosion with a lot of light.  You can use it for an effect, and it really opens up more in the DI, which can add to the story.  You can go from inside to a blinding light outside if you want to make the audience feel that extreme contrast.  You can have the dynamic range that you couldn’t before.  And the biggest thing is that you truly have ‘black’ blacks.”

 

As HDR content brings the filmmakers and content creators to a new level of content production workflow, Sony is committed to providing a complete solution based on a comprehensive range of cameras and monitors along with proven workflows.

For more: Sony.

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