Sony Updates F5 with Lower Price Bundles

Hello, This isn’t breaking new news as these packages prices have been running since about May but I thought it was worth re-posting as it seems many people to have not heard of this. There are a couple of great bundles on Sony F5 running right now.

For $12,995 you get
Sony F5 camera w/ 4K firmware all updated
Sony LCD Viewfinder
Sony VCT baseplate/shoulder pad
Sony SxS card reader
Davinci Resolve 12 full copy
OR for $13,995 you swap out the Sony LCD viewfinder for the extremely nice OLED viewfinder.
We’ve had a version of these kits running since last fall but previously it included a Sony a7SII camera body, a $3,000 value, but the price of those kits was $16K and $17K respectively. In May they removed the a7SII body from the kit and simply added $3,000 of additional savings instead, bringing the prices to the current $13K and $14K respectively.

Additionally, we’re offering 0% $0 down financing for 24 months on all Sony F5 and F55 kits. The F5 kit w/ the LCD viewfinder would come to $542 a month over 24 months. Or you can chose 36 month financing at about 6.5% interest, which is about $389 a month over 36 months.

Depending on what you are looking for in a camera and how you are intending to use it there are several possible advantages when compared to the Fs7. Now that the price difference between the Fs7 and F5 is significantly less some may consider spending the extra money to move to the F5.

Apply for Sony Financing here, shop the F5 bundles here

Sony F5 OLED Bundle

Incredible New Sony F5 Package Includes a7SII Camera, Viewfinder, and More.

We’ve partnered with Sony and unveiled one of the most aggressive and interesting packages on the F5 CineAlta camera, ever. The going price on the PMW-F5 camera body has always been $16,490…. until now! We’re excited to announced a promo called the “Production Crew” bundle.

The “Production Crew” bundle sells for $15,995, or can be financed for $0 down and 0% interest over 24 months for $667 a month. Included in this bundle is the F5 camera body with the internal 4K recording firmware. Also included is an NEW a7SII camera body, the LCD viewfinder for the F5, the shoulder pad/VCT tripod mount for the F5, an SxS card reader, and a full copy of Davinci Resolve 12.

We’re essentially providing the viewfinder, the shoulder pad, the a7SII camera, and the rest for $500 less then the camera body before. This all adds up to thousands of dollars of savings.

The price of $15,995 is surely no coincidence (hello C300mkII). If you prefer to upgrade the viewfinder to the amazing OLED viewfinder its only an additional $1000, making it $16,995.

This is truly the best time to be looking into a Sony 4K camera, specifically the F5. For more details on financing options please contact me. Let me know if you have any questions at all. Thank you very much.

Here’s a quick breakdown with a bit more detail.

The previous pricing of the individual components would have gone as follows:

PMW-F5 camera body $16,490
VCT-FSA5 ENG shoulder pad/VCT baseplate $975
DVF-L350 LCD viewfinder $3,230
CBK-Z55FX 4K recording ‘upgrade’ key $998
SBAC-US30 SxS USB reader $319
TOTAL: $22,012

NEW F5 ‘Production Crew’ package price: $15,995, ($6,017 less then above total)
Also includes an a7SII camera body and a full Davinci Resolve 12 copy worth, $2999 and $949 respectively. Combine the savings on the F5 package components, the a7SII, and Davinci and you’re looking at about $9,965 less then the same individual components would have run you prior to this package. If you add the OLED viewfinder the dollars saved actually increases as you’re only paying an extra $1,000 for the upgrade but the regular price of the OLED is $4,930, normally a $1,700 upgrade over the standard LCD.

With nearly $10,000 in total package savings the F5 is now positioned to be one of the greatest sub-$20K cinema cameras options on the market. You can finance the F5 over 24 months at 0% for only $667 or $479 over 36 months. Apply for Sony Financial Services here. Buy the F5 + a7SII combo bundle on-line now.

F5 Production Bundle.001

Updated Breakdown of Sony CineAlta Camera Financing Options

With the announcement of the new Sony PXW-FS5 we’ve touched up our breakdown of the monthly payments and interest rates on the most popular Sony cameras via Sony Financial Solutions. All of these Sony CineAlta cameras have a 0% interest option. Our most popular financing term length is 36 months. At 36 months you can get one of the new FS5 cameras for only $171 a month. The FS7 comes in at only $245 a month. And the F5 is $491 a month.

We’ve been working with Sony Financial Solutions for over 5 years now. The low interest financing is a great solution for any one who is thinking about jumping into a new camera but is on the fence about price points. Perhaps you’d love an FS5 but you can only spring for an a7SII budget. Or you’re debating between an FS5 and an FS7? With around $70 a month difference it becomes a lot easier to justify moving up. Even if you have $10,000 in cash in the bank, why spend that all on front on a camera body when you could do the 0% financing and spread that out over 12 months.

The application process is simple. It takes about 3 minutes to Sony On-Line Credit Application. By simply filling out the application you’re not agreeing to anything, it is completely commitment free. If you chose not to keep going with the financing process the application simply is canceled after 90 days. Apply now and we’ll have your results back in less then 48 hours. And of course, let us know if you have any questions at all. That’s what we’re here for.

NEX-FS700r Body Only $123/month at 6.2% 36mo
NEX-FS700rh 18-200 Lens Kit $141/month at 6.2% 36mo
PXW-FS5 Body Only $171/month at 6.2% 36mo
PXW-FS5K 18-105 Lens Kit $187/month at 6.2% 36mo
PXW-FS7 Body Only $245/month at 6.2% 36mo
PXW-FS7K 28-135 Lens Kit $321/month at 6.2% 36mo
PMW-F5 Body Only $491/month at 6.2% 36mo
PMW-F55 Body Only $864/month at 6.2% 36mo

NEX-FS700r Body Only $334/month at 0.0% 12mo
NEX-FS700rh 18-200 Lens Kit $384/month at 0.0% 12mo
PXW-FS5 Body Only $467/month at 0.0% 12mo
PXW-FS5K 18-105 Lens Kit $509/month at 0.0% 12mo
PXW-FS7 Body Only $667/month at 0.0% 12mo
PXW-FS7K 28-135 Lens Kit $875/month at 0.0% 12mo
PMW-F5 Body Only $688/month at 0.0% 24mo
PMW-F55 Body Only $1,208/month at 0.0% 24mo

CineAlta

Sony PMW-F5 Now Features Internal 4K Recording

Sony’s part number CBKZ-55FX is an optional license key that activates XAVC 4K/QFHD recording and playback, 4K SDI and 4K HDMI Playback Output as well as simultaneous recording of XAVC 4K/QFHD, and MPEG HD in the PMW-F5. The license key is $998. v5.0 firmware is required on the PMW-F5 prior to installing the license key. The CBKZ-55FZ is installed by the end user. The customer can place an order for CBKZ-55FX with their Sony Authorized Reseller and the Reseller will ship the envelope to their end user customer. The end user customer must follow the instructions provided in the envelope to download/install the license key.

You might be asking, with this upgrade what are the remaining key differences between the F5 and the F55? The F55 has some upgraded hardware and offers a much more advanced  image sensor and Color Filter Array, including the global shutter. Additionally, the F55 features live 4K signal output for live 4K production work, which the F5 will not.

As of this writing the F5 bodies currently sell for $16,490. Factoring in the internal 4K upgrade and this puts the camera body total at $17,488.

F5

Why Sony is Set to Take Over the Cinema World

Here’s an interesting editorial by Noam Kroll.

Since their release of the initial 5D MK II and continuing on until just a couple of years ago, Canon had the strongest foothold in the low-budget market. In 2011/2012, just about everyone I knew owned a 5D, and many of those shooters eventually moved on to Canon’s cinema lineup (namely the C100 and C300). Once Canon’s development and innovation started to plateau though, lots of shooters started looking for other solutions. Many went to smaller companies like Blackmagic/RED, others turned to Panasonic (in particular the GH4), and some have simply been hanging on to their Canon gear, waiting for something else to come along. For those that are in the latter category – it’s looking like Sony may be offering the exact tools that they have been waiting for.

My rationale behind that is pretty simple – Sony is covering every last corner of the camera market, and doing an exceptional job at it. They now have one of the best DSLRs (or DSLMs) out there – the A7s, the incredibly powerful and affordable FS7, numerous broadcast cameras, and their cinema lineup (F5/F55), just to name a few key highlights. The fact that they are not only covering the needs of such a wide spectrum of filmmakers, but also pushing ahead technology (by offering unmatched lowlight performance, high frame rates and more) is simply staggering.

Read the rest here. Post by Eric C. Petrie

FS7 w/ Servo Zoom

Alister Chapman “No Difference Between Image of FS7 and F5″

UPDATE: November 17th. We will be including a FREE Metabones Canon EF lens adapter with the purchase of the Sony FS7 cinema camera. Thats a $300 value, absolutely FREE.

XDCam-User.com guru Alister Chapman has published his first impressions of the Sony FS7. Alister shoots regularly on an F5 so he has a very good idea for how to compare the two cameras. Here are some of his thoughts. We are taking pre-orders for the FS7 now. They will start shipping around the start of November. Call us for more details, 503-598-9142.

“But what about the image quality? Frankly it’s amazing! For the money the images this camera produces are remarkable. It is using the F5’s sensor and it does have 14 stops of dynamic range. S-log3 is a great gamma curve and the camera is very low noise, even at it’s native 2000 ISO. It was hard to tell as most of the shooting took place at night, but initially it doesn’t look like there is any difference between the quality of the footage from the FS7 and the PMW-F5. Great colours, low noise, high dynamic range with very pleasing roll off what more can you want? One area where there will be a difference is with raw. The PMW-F5 takes the Sony R5 directly docked on it’s back. The raw form the F5 is 16 bit while the raw from the FS7 is going to be recorded on an external recorder at only 12 bits. 12 bit linear raw is really pushing the limits of what is needed for linear raw. However we do already know that the 12 bit raw from Sony’s FS700 works well, so this should be no different.”

Read the rest of the article here.

Sony Intros F5/F55 Ver.5, ProRes, DNxHD

Sony has announced a December release for firmware version 5.0 for the PMW-F5 & F55 cameras. This is mostly a compatibility firmware updates. It brings compatibility with CBK-55BK “ENG Dock” device. You also need 5.0 installed in order to use the F5 4K unlock key. Firmware 5.0 will also be needed if you chose to install the upcoming codec board CBK-55PD. This board adds ProRes & DNxHD.

The new codec board adds several flavors of ProRes & DNxHD. Once the board is installed you will be able to record in-camera to the SxS card in ProRes HQ 422 10-bit, ProRes 422 10-bit, DNxHD 10-bit and DNxHD 8-bit. All of these codecs will be in 1920×1080 resolution. There is a planned firmware updates schedule for mid-2015 to add ProRes 444 12-bit, still in 1920×1080.

These codecs will add to the already very robust options these cameras offer. This includes XAVC 422 10-bit, HDCam SR 444 10-bit. XDCam 422, and RAW 16-bit.

All said, Sony has truly made good on their promise with the F5 & F55 that more features would continue to come down the pipe. The cameras haven’t been “outdated” even though they’ve been on the market for over 2 years now. By adding codecs, resolutions, frame rates and other features Sony keeps these cameras very relevant at their given price points. Compared to other manufacturers who simply slash the price of their old hardware with outdated features as a form of “adding value”. Schedule your F5 demo now. We absolutely GUARANTEE our CineAlta prices will not be beat, ever.

Link to Sony F5 & F55 firmware 5.0 page

F5 F55 firmware 5.0

F5 F55 ProRes and Avid DNxHD® codecs

Sony F55 bare body

Sony Adds Internal XAVC 4K Recording to F5

Several weeks a go an F5 owner discovered that it was fairly simple, from a technical standpoint, to reprogram the F5 to record internally in 4K, the same as the F55 can do strait out of the box. There were problems of course. Chiefly the camera couldn’t play back any of the 4K footage. And of course it voided the warranty.

The ease that this was accomplished lead many people to speculate that this was something Sony intended to unlock all along, it was just a matter of when. This theory does make sense. When the F5 was introduced 2+ years ago there was no high quality sub $20,000 4K cinema cameras. At this point though that is becoming more common. So Sony has decided to officially offer an XAVC 4K internal recording software key. This brings the F5 back to the front of the conversation of highest quality sub $20K cinema cameras.

Regardless of if you already own an F5 or if you plan on buying one new it will a $999 download key from Sony. This will be made available in December. The F5 body only sells for $16,490 so tacking on another $999 for the 4K still keeps the body well under $20K. There are several kits that package the F5 with viewfinder & shoulder pad options for right around $20k making this one of the highest quality bang-for-the-buck digital cinema cameras out there.

If you want to evaluate the Sony F5 contact us. We’ll put it in your hands. You can shoot some 4K XAVC and take the media back to your edit machine for a more detailed evaluation. And we GUARANTEE our price on the F5 will not be beat.

Sony F5 4K upgrade sheet

F5

NAB ’14 Camera Recap: What Did We Really Get

The annual NAB show has come and gone. It was a good year for cameras and it also saw the spreading of some interesting trends:

Dockable Cameras: What’s old is new again. The two piece camera concept, something big up through the late 90’s, is back. We saw two piece, head-dock combo cameras from Blackmagic Design with the URSA and from Panasonic with the new VariCam system. We’ll see if these dock systems catch on with more manufacturers and more models and if these docks actually pay off with the flexibility the makers claim 

High Speed: We’re starting to get to a point where 60p is just expected in a professional camera. But we’re also introducing the concept that to make a “high speed” camera you don’t have to be Phantom creating thousands of frames per second. Most users are very excited about 120 or 240. For a lot of camera makers frame rates in this range are now becoming very tangible specifications. AJA, Panasonic, Sony, and even JVC all showed cameras that could reach the 120 threshold.

ProRes & Other Beefy 10-Bit Codecs: ProRes is starting to become the closest thing the video industry has ever had to a high end “universal standard” codec. Blackmagic, AJA, and even Sony and Panasonic all showed ProRes recording cameras. And we have more options for ProRes external records then ever, thanks to AJA and Atomos. Beyond ProRes the theme was 10-bit. XAVC and AVC-Ultra where shown off on many new models, all recording in 10-bit. In some cases the compression schemes have become so good we can get a 10-bit signal out of a 25mbps package. RAW recording is starting to become more readily available, though i wouldn’t quite call it a “common” feature yet.

Super35mm: Large sensor “cinema” cameras have been the growing trend for the last 3-4 NAB shows. This year the ratio of cameras that specifically use the Super35mm standard compared to smaller sensors was the biggest it’s ever been. Panasonic, AJA, Blackmagic Design, JVC, and Sony all showed new cameras that make use of this format. There were very few cameras shown with smaller traditional broadcast 1/3” or 2/3” sensors.

Shoulder Mount/ Improved Ergonomics: Generally speaking there weren’t too many cameras that required kitting out shown this year. There was a very pleasant uptake in ready to go cameras. The Blackmagic URSA, The AJA CION, the new VariCams, and the new JVC all use shoulder mount designs. Sony’s even gone to the lengths of improving the F5 & F55 shoulder mount. Those cameras are already shoulder-mountable, and always have been. But now they’ve gone totally ENG with a new control layout and new features via a docking sled. JVC even showed an economically designed hand-held camera with a large Super35mm sensor. For some reason that’s a concept that hasn’t really been that prevalent before.

Post by Eric C. Petrie

NAB

Sony Enhances F5 & F55 Cameras

Although Sony hasn’t debuted a new cinema camera at this yeas NAB Show the have announced several new firmware and hardware upgrades for their existing F5 & F55 cameras. In many ways this strategy of continuing to offer a wide array of enhancements to existing products is a welcome breath of fresh air. Many companies have promised us “modular” cameras, “future proof” cameras, “upgradeable” cameras, yet year after year NAB is still crowded with new models driving people to feel as if investing in new gear is futile because of the compulsive need to not be “out of date”. Sony has continued to demonstrate a real interest in developing and fleshing out the F55 & F5 to meet the needs of any possible shooter.

The first big announcement was firmware 4.0 for these cameras. The heavy hitting features in version 4.0 are big enhancements to interval recording, the addition of cache pre-roll recording, and the addition of ProRes and DNxHD codecs. The importance of the addition of ProRes cannot be understated. Its significant on several levels. It marks the first time Sony has enlisted a 3rd party codec on one of their industrial level cameras. It furthers the concept that ProRes has really become the worlds first high end “universals standard” video format. It also shows that Sony is truly listening to user feedback, to the extent that they are doing what was previously considered impossible for them. 2 years ago when these cameras where introduced and the XAVC codec was introduced with them i knew Sony would never go to the extent of licensing a 3rd party format like ProRes. And now 2 years later here they are enabling ProRes on their cameras.

In the hardware department there were two notable announcements. Sony has introduced an interesting “sled” concept. The sled mounts to the bottom of the F5 & F55. It adds a shoulder pad and a new control layout. This layout essentially converts the bottom quarter of the camera into a layout that would be identical to what someone would find on an XDCam ENG camera. It also adds a slot-in wireless audio dock. The native control layout of the F5/F55 is similar to an Arri Alexa, it’s driven off of a screen/button combo thats on the side of the body. While this works well for cinema users it’s a very unfamiliar, unintuitive, and slow layout for news-style shooters who need critical function access with the flick of a switch. The second big hardware announcement is the ability to upgrade your F5 to an F55. It involves replacing a few components including the image sensor. Having that upgrade path available is an extremely nice option to allow customers to get into a camera today with a path set for the future

When you combine all of these exciting new features with some of the options that Sony already has for these cameras it becomes clear that Sony want to find a way to use these cameras in every possible scenario. Keep in mind Sony already has their own B4 mount adapter for these cameras to allow of ENG lenses to be used. And they already have a studio dock so that they can be used in live environments (think 4K sports). Post by Eric C. Petrie

F5 ENG back side

F5 ENG back]

F5 ENG sled front

F5 ENG sled side