Shoot 4K, UltraHD, 2K or HD with the Sony F5

The Sony F5 is a Super35 cinema camera and just like the Arri Alexa, it's the same format as those 35mm movie cameras that purred away in film studios for decades.

The F5 delivers a shallow depth of field that we've all seen in the cinemas for many years, the foreground is in focus the background is immediately out of focus; it's a very pleasing look. With an impressive fourteen stops of latitude, the whole picture is reproduced in a very natural way with lots of details in the dark areas with great highlight handling. If your final delivery requirement is standard HD, then the camera can be switched to HD, but that 4K sensor still provides spectacular super-sampled pictures with visibly superior texture and detail that ordinary HD cameras cannot touch.

  • Shoots HD, 2K or 4K
  • 14 stops of latitude approaches that of traditional motion picture film
  • Extraordinary low-light sensitivity with a base rate of ISO 2000
  • Extremely low noise in the blacks
  • Continuous high speed shooting at up to 120fps; 5 times slower than real life
  • Time-lapse interval recording starting at 1 frame per second
  • PL Lens mount


4K+ Cine Lenses

A cine lens has to capture frames that may be projected onto a 30×20 foot screen, that's why "top quality" cine lenses normally exceed the resolution of the camera sensor. PL Mount Cine Lenses are a big investment, but I believe they will outlast the cameras I own in the future.


Fujinon Cabrio 4K Cine Zoom 20-120mm, T2.9

The new Fujinon Cabrio 20-120mm is a Super35 wide to medium telephoto PL-mount cine zoom lens.

The Cabrio provides a sharp prime lens feel, images have a good filmic quality, creamy smooth with good contrast.

It brings 4K to the whole picture, right out to the edges and corners; at every focal length. The Ks go way beyond 4K in the Cabrio’s centre zone.


  • Constant T3.5 aperture throughout the zoom range
  • 9 iris blades for attractive bokeh
  • Minimal focus breathing
  • Parfocal
  • 200° focus barrel rotation and 120° zoom rotation
  • Macro focus function
  • Detachable ENG style zoom control
  • 0.8 Pitch gear focus, iris, and zoom rings


T3.5 PL Mount Comes with a Chrosziel fluid zoom drive.
ZVeydra Cine Primes 16mm, 50mm, 85mm, T2.2

Veydra Mini Primes are true top quality Super35 cine lenses built from the ground up; not re-housed photo lenses.
I knew these lenses were something special when I heard they were listed in Panavision’s rental catalogue. After many chart and scope tests, I’m pleased to find that Veydras optically colour match incredibly well with my Fujinon Cabrio 20-120mm lens above.


  • Fits directly onto the FZ lens mount of the F5 camera without adaptors
  • Incredible sharpness and great contrast
  • Colour matched set
  • Ten-blade iris for a smooth, circular bokeh
  • 300º of focus travel with minimal to no focus breathing
  • 0.8 Pitch focus and iris rings.

16, 50, 85mm

T2.2 Native FZ Mount
Ultra-Wide Angle Cine Zoom Z11-16mm, T3

The Tokina Cinema 11-16mm is a Super35 PL-mount cine zoom lens that delivers stunning ultra-wide angle perspectives.

Centre resolution is way beyond 4K and edge-to-edge sharpness is excellent; it has the optical quality of lenses that cost 10 times as much.


  • T3.0 aperture throughout the zoom range
  • 9-Blade aperture iris
  • Parfocal
  • 166° focus barrel rotation with minimal to no focus breathing
  • 0.8 Pitch gear focus, iris, and zoom rings


T.3 PL Mount
Macro Cine Prime 100mm, T2.9

The Tokina Cinema AT-X 100mm T/2.9 macro lens is used to film extreme close-ups of objects.


With a minimum close working distance of 11.8 inches (0.3 meters), the Tokina Cine Macro is a true 1 to 1 macro lens, which means it can focus on something the same size or as small as the cameras sensor; awesome macro capability.

An audience can appreciate for the first time, the delicate complexity of everyday items. Even printed words and maps take on new importance when we can see the very texture of the paper or the indentations of each letter produced by a typewriter.

Macro filming brings your audience's focus into places their eyes normally don't go.


T2.9 PL Mount

Supporting the F5 camera

I’ve owned Arri and O’Connor matt boxes which I thought were the best, until UK based Bright Tangerine came along!

Today I have the VIV studio matte box from Bright Tangerine. The VIV is a lightweight carbon fibre hybrid that uses industry standard "Panavision" size filters. It’s a wing-away too, so lens changes quick and simple. I also have a Bright Tangerine Misfit Atom, which is an amazing ultra lightweight matte box. Matte boxes help bring contrast to the image by blocking out light flares.

No surprise that my choice of follow focus is a Bright Tangerine Revolvr ATOM Cine; the best follow focus I have ever used.

My principal tripod is a Sachtler carbon SpeedLock with an O’Connor 1030D ultimate fluid head. O'Connor heads are world famous for their ultra smooth feel, fluid movement and great balance. Chad O’Connor sold his first fluid heads to Walt Disney in 1949; today these fluid heads are industry standard in Hollywood.

A Sachtler FSB 8 fluid head with carbon SpeedLock legs has served me well too for many years; it’s a great ‘go to’ when I travel light.




Although lenses are one of the most important elements of a camera, just as important are great monitors.

I've been a fan of Small HD monitors since I first saw them at NAB years ago, you really have to see the image quality yourself to appreciate them.

7-inch On-camera field monitor (702 BRIGHT)

The 702 Bright is a new breed of on-camera, daylight viewable, full HD displays from Small HD.
Features; waveform, peeking, zebra, 3D LUTs, frame guides, audio meters and more.

17-inch P3X 10-bit Reference Grade Monitor (1703-P3X)

The Small HD PX3 is a 17-inch high precision monitor with incredible colour accuracy and wide colour gamut display covering 100% of the DCI-P3 colour space for cinema, which is well beyond the rec709 broadcast space.
Mains or battery powered, C-stand mountable, waveform, vecterscope, HDR preview, 3D LUTs, frame guides and 8 audiometers.
The Small HD P3X is the best monitor I have ever owned and trust.



Gamma & LOGs

For those of you who want great images straight-off-the-card, I use a highly optimized in-camera profile that will deliver wonderful results, so you don’t need to get caught up in post grading etc.

If you who want to shoot other S-Logs and Gammas, please read on.

Choosing the correct Gamma setting

Standard Gamma 5 (rec709)
For footage to be used as shot in camera; no time to grade.
Standard Gamma gives you a broadcast safe tv signal without grading.
Rec709 is default HDTV standard gamma.

Is intended for minimal color correction and can be graded in-house using popular edit systems. With 10 stop dynamic latitude, hypergamma is Sony's halfway house between Standard Gamma and S-log. Hypergamma captures much more detail in light and dark shades than rec709.

S-Log exploits the F5's full sensor with it's 14-stops dynamic latitude for the widest choice in the grade. S-Log footage is normally graded by someone who has the tools and skills ‘most likely a professional colorist’ in a dedicated grading suite.



F5 Workflow

Footage is recorded internally as XAVC, HDCAM SR and XDCAM HD or to an optional external recorder in Apple ProRes 422 HQ, ProRes or Avid DNxHD.

Shot material is transferred via my MacBook Pro to your portable hard drives. The media is edit suite friendly and compatible with up to date Avid, Final Cut Pro, Premiere, etc.

Cards are never erased until I get an all clear from clients.



My F5 Shooting kit


Sony PMW-F5 Super35 Cinema Camera

Sony 3.5-inch HD viewfinder

Vocas shoulder baseplate with 15mm rods

Vocas start/stop handgrip

Arri top plate

Sony XQD G Series memory cards

Cine Lenses


Fujinon Cabrio

High zoom ratio

PL Mount T3.5  
11-16mm Tokina Cinema ATX Ultra wide angle PL Mount T3.0  
100mm Tokina Cinema ATX 1:1 Macro PL Mount T3.0  
16mm, 50mm, 85mm Veydra Cine Prime set FZ Mount T2.2  
58mm Helios 44-2 Vintage super-swirl PL Mount T2.2  
Lens Support

Bright Tangerine Revolvr ATOM follow focus

Bright Tangerine VIV Swing-away studio matte box

Bright Tangerine Misfit ATOM ultra lightweight matte box

Chrosziel fluid zoom drive

Filters 4x5.65" Panavision

Schneider NDs

Schneider grads

Tiffen Diffusion Gold FX

Tiffen Black ProMists

Tiffen Ultra Pol Polariser - Linear

Filters 138mm

Schneider Tru-Pol Polariser - Circular

Schneider +1 Split-Field Diopter Lens

Schneider +2 Split-Field Diopter Lens

Camera Support

Sekonic L-858D Speedmaster Light Meter

Small HD 7-inch 702 Monitor - High Bright daylight viewable

17-inch Small HD P3X 10-bit Reference Grade Monitor

Blackmagic Video Assist - 10-bit 4:2:2 ProRes and DNxHD recording

Bright Tangerine Titan arm

O'Connor 1030D fluid head with front box and SpeedLock carbon tripod

Induro Hi-hat tripod

Arri bridge plate & dovetail with 19mm rods

PAG L96 Batteries and charger

15" MacBook Pro 3.9GHz i7 (2017) for transfer of footage to drives

Blackmagic UltraStudio for HD-SDI feed into OB trucks, feed points, etc.


Also included is a comprehensive lighting and sound kit.