The RED camera has been a phenomenon in the indie film making sector. Giving those who have knowledge of film making, but not a crazy budget to achieve almost any shot they want, without the need to mortgage their house and their liver. Mix that with the ever growing power of home computers and editing software like Final Cut Pro and you can see why Indy films have been on a ever growing trajectory. Now, Sony wan’t some of this action as well, already known for their studio grade camera’s.

The PMW-F3 (yes, Sony as their catchy names, I mean who wouldn’t forget that over just saying RED…) is Sony’s answer, a $16,000 camera, with Sony’s latest Exmor Super 35 CMOS sensor and interchangeable lens mounts, allowing the users to “facilitating shallow depth of field with a fairly impressive dynamic range”. The camera itself shoots with a MPEG-2 Long GOP 4:2:08bit, 35 Mbps codec), and uses Sony’s SxS ExpressCard-based recording media format (ISO 800, F11; and S/N ratio of 63dB in 1920×1080/59.94i mode). Another advantage that the PMW-F3 offers is the wide expandability of the device with its many ports on the back and PL mount. As Sony put it, “The PMW-F3’s PL mount adapter can accommodate both PL and zoom lenses, and will offer compatibility with a variety of cine lenses such as Cooke, Arri, Fujinon and Zeiss”. Though it remains higher in the price point category then other indy camera’s, the unit does offer more expandability then most units on the market with superior specs. Look for the camera to roll off of Sonys production lines for a February 2011 release.

As always, hit the jump for the official press release.

 Sony strengthens super 35mm digital production line-up with groundbreaking new camcorder

New PMW-F3 joins F35 and SRW-9000L as latest S-35mm innovation, delivering high-end performance
at an “indie” price

Basingstoke November 8, 2010:- Representing a breakthrough for filmmakers in terms of features,
performance and price, Sony Professional is adding to its line-up of Super 35mm digital motion picture camera technologies. The family, which includes the legendary F35 and the recently announced SRW-9000PL, is now joined by the all new PMW-F3 camcorder.

Each camera in the line-up is based on a Super 35mm sensor and PL mount technology, and illustrates Sony’s unique ability to offer filmmakers access to the highest-quality imaging tools and most complete digital production workflows.

The new PMW-F3 is the latest example of Sony’s efforts to combine performance and price into a
powerful and affordable production tool. Designed for television, commercials, music promos and
budget features, the new camcorder is offered at a price point that will bring Super 35mm shooting within reach of a wider audience.

That, and the availability of a low-cost PL lens kit model which includes 35/50/85mm T2.0 fixed focal length lenses, makes it ideal for use as a 2nd unit 35mm camera or as a B camera to the SRW-9000PL.

“Sony has a long and successful track record of developing digital motion production technologies,” said Bill Drummond, Strategic Marketing Manager at Sony Professional Europe. “Our cameras have shot everything from documentaries to big-budget blockbusters, totaling many billions of Euros at the box office. With the new PMW-F3, we’re putting the full power of our expertise to work, to bring precise control over depth of field, and access to the huge range of cinematic lenses available to a wider range of users.”

The new PMW-F3 camcorder is based on Sony’s XDCAM EX workflow (codec is MPEG-2 Long GOP 4:2:0
8bit, 35 Mbps), and uses Sony’s SxS™ ExpressCard-based recording media format. Its Super 35mm CMOS imager delivers shallow depth of field, with high sensitivity and low noise levels (ISO 800, F11; and S/N ratio of 63dB in 1920×1080/59.94i mode), as well as wide dynamic range.

The camcorder offers a wide range of image creation options, as well as the ability to seamlessly inter-cut PMW-F3 footage with content shot on Sony’s F35 or SRW-9000PL cameras – through the use of an HD-SDI dual-link output for external recording (4:2:2 1080 50/59.94P as standard; and RGB 1080 23.98/25/29.97PsF as an option).

Additionally, “S-LOG” and “Hyper Gamma” can be selected. This can allow users to take full advantage of the CMOS imager’s wide dynamic range, giving them the ability to tailor their images during post-production in the same way they would in a film based workflow.

Recording formats include 1920×1080, 1440×1080, and 1280×720 at 23.98/25/29.97p, 50/59.94i and,
in DVCAM mode, 25/29.97PsF and 50/59.94i. Filmmakers can also take advantage of ‘slow’ and ‘quick’ recording, also known as “overcranking” and “undercranking” from 1 to 30 fps at 1920×1080 (17 to 30 fps in dual-link mode) and 1 to 60 fps at 1280×720 (17 to 60 fps in dual-link mode).

The PMW-F3’s PL mount adapter can accommodate both PL and zoom lenses, and will offer compatibility with a variety of cine lenses such as Cooke, Arri, Fujinon and Zeiss.

Sony is also announcing its plan to introduce a compatible SR Memory Portable Recorder for the PMW-F3 camcorder. This will add a high-end workflow option as well as full RGB capability providing native recoding in HDCAM SR codec.

“We demonstrated a prototype PMW-F3 on our stand at IBC and have been inundated with requests
for more information ever since. It’s great to be able to unveil the full list of features, and announce that first deliveries will be made well in advance of what many customers may have been expecting,” concluded Drummond.

Two configurations of the PMW-F3 will be available (PMW-F3L body only and PMW-F3K with PL lens kit). First deliveries of are scheduled for January 2011.