Sony CineAlta Workflow Guide

Sony CineAlta Workflow Guide

RAW, SR File and XAVC production with the F65, F55 and F5

Version 2.0

Workflow Guide

HD and beyond

While all Sony® CineAlta® cameras provide HD recording, the

latest models also venture far beyond HD. They go beyond HD

in resolution, with 2K 4K and 8K image capture. They go beyond

HD in highlight handling with S-Log 2 and RAW recording. They

even go beyond HD in color palette, with the deep greens and

reds of the S-Gamut color system.

To take advantage of these new recording options, a full

spectrum of third-party vendors has developed workflow

solutions of extraordinary power and flexibility.

No matter what Sony CineAlta camera you choose for your

next project, you’re always assured of four important

benefits:

Choice of traditional HD or beyond HD. Every Sony

CineAlta camera can shoot Rec. 709 HD, ready for efficient,

cost-effective postproduction. Or choose super quality

workflow beyond HD, based on S-Log 2 or RAW recording.

Compatibility with third-party tools. Sony CineAlta cameras

work with a world of third-party solutions. We recently

counted more than 30 vendors supporting our XAVC™

recording system and over 30 supporting our SRFile system.

Because more and more third-party solutions are coming on

board, we expect to continue to update this guide.

Simplicity. Producers are discovering that the new

workflows are easy. For example, Sony SRFile, XAVC and

RAW files can all play back on a PC using free Sony

software.

Speed. Sony has developed fresh compression codecs,

original recording media and high-speed card readers to

make your workflows smooth and efficient.

There’s an amazing world of production possibilities out there.

And nobody brings it to you like Sony.

Workflow Guide

Basic Workflows

The workflow for CineAlta® cameras can include the following

stages:

1. On-set look management. Creating in-camera looks during pre-

production or on-set.

2. Data transfer and backup. Offloading data from cards,

performing checksum and archiving.

3. Dailies. Transcoding original camera files to as many different

formats as the production requires, such as ProRes, DNxHD, QT

and H.264.

4. Edit. The essential process of selecting clips and cutting them

together to tell the story.

a. Native. Using the camera original files.

b. Transcoded. Using files generated in the dailies process.

5. Color Grade. Correcting the color for shot-to-shot

consistency and to achieve the desired looks.

a. Native. Grading final images from the camera original files

for the highest quality.

b. Transcoded. Grading compressed files, for example HD

final delivery from RAW acquisition.

We will examine Sony features and third-party support for each of

these stages in turn.

Workflow Guide

On-Set Look Management

A rapidly growing segment of the workflow, on-set look management

enables you to decide the intended look on-set and pass it through

Dailies and on to the final Grading process. The most common

deliverable is an American Society of Cinematographers Color

Decision List (ASC CDL). An ASC CDL entry includes ten values that

specify how the image color was changed: Slope (R, G, B), Offset (R, G,

B), Power (R, G, B) and Saturation. You can capture this ASC CDL data

on-set and then repurpose it for generating Dailies deliverables and in

final Grading.

On-set look management support for CineAlta® cameras

Blackmagicdesign

DaVinci Resolve V10

HDLink Pro

Colorfront On set Live

FilmLight

Truelight

FLIP

Fujifilm CC Box

Pandora Pluto

Pomfort Livegrade

Workflow Guide

Data transfer and backup

The first process after shooting content with any flash memory

camera is to offload data from the cards and back it up. Sony makes

this fast and easy.

F65 data transfers

The F65 offers two methods for offloading the recorded data.

The SR-PC4 transfer station provides

the highest data transfer rates for

SRMemory™ cards. It can achieve up to

320 MB/s transfers over 10 Gigabit

Ethernet while concurrently

generating checksum data. The SR-PC4

also supports real-time playback of

files directly from the SRMemory card

via HD-SDI output. You can control the

SR-PC4 via built-in GUI using a standard

internet browser or with the SRUtility

application, a fast, easy full-featured

approach.

SRUtility software transforms backup

operations with an elegant interface

and efficient features:

Easy configuration for NFS

(Macintosh® OS) or CIFS (Windows®

OS)

Auto selection of All Files on card

Auto Checksum capability

File transfer logging

Shortcut keys

Direct access to the standard SR-

PC4 GUI operation screens

Viewer, Import, Setup, Format &

Diagnosis

The SR-D1 drive supports both eSATA

and USB3 interfaces. Operation is easy

and transfer speeds extend up to

200MB/s.

F5 and F55 data transfers

For the F5 and F55 cameras, Sony offers a card reader for

offloading SxS® cards (for XAVC™, SRFile and MPEG-2 50 Mbps

Workflow Guide

assets) and another for offloading AXS cards (for F5RAW or F55RAW

files).

The SBAC-US20 transfers files from

SxS cards. It incorporates a USB3

interface for speeds up to 170 MB/s.

The AXS-CR1 transfers files from AXS

cards and achieves up to 200 MB/s via

USB3 interface.

Workflow Guide

Dailies

Not so long ago, cans of exposed film were shipped off to the lab

where a considerable amount of work was done. Film was developed,

printed and transferred to tape while offline files were created for

editorial. Today's digital productions don't need film labs. But they

still need copies created for backup, editorial and client review. On-

set dailies systems can undertake all of these functions, plus an

expanded list of deliverables that can include audio syncing, applying

a color grade, on-set streaming to tablets, and pulls for visual

effects.

Audio sync is particularly important. While CineAlta® cameras have

facilities for on-board audio recording of very high quality, cinema-

style productions typically record audio on a separate system,

staffed by sound recordists.

You can typically use ASC CDL values from On-Set Look Management

for Dailies creation, or you can generate an ASC CDL in the Dailies

application.

Dailies support for CineAlta cameras

Assimilate Scratch Lab

Blackmagicdesign DaVinci

Resolve

Codex Vault

Colorfront

OSD

ExD

FilmLight Baselight

Transfer

MTI Film

Control Dailies

Cortex

Yo Yotta YoYo

Workflow Guide

Edit

CineAlta® cameras enable productions to choose “native” or

“transcoded” editing.

Native editing processes the original camera files directly. This

empowers you to skip dailies processing and transcoding steps prior

to edit. As we will see, popular nonlinear editors support native

editing with Sony RAW, Sony XAVC™ and Sony SRFile formats.

Transcoded editing occurs when the original camera files are first

converted to another format, typically Avid® DNxHD® or Apple®

ProRes® files. These often have lower bitrates and lower quality

than the original camera files.

After transcoded editing, productions typically go back to the higher-

quality camera original files for final Color Grading. For this

purpose, the editing system outputs metadata in Advanced Authoring

Format (AAF) or Extensible Markup Language (XML) files. The process

of going back to the camera original files is called “relinking” or

“roundtripping.”

Editing systems that support native XAVC HD and 4K files

Adobe Premiere

Apple Final Cut Pro X

Avid

Media Composer

Symphony

Sony Vegas Pro 12

Workflow Guide

Editing systems that support native SRFile content

Apple Final Cut Pro® X

Avid

Media Composer

Symphony

Sony VegasTM Pro 12

Editing systems that support native Sony RAW files

Adobe Premiere

Avid

Media Composer

Symphony

RAW and 4K On-line editing with AVID Media Composer & ADOBE

Premiere

The newly released plug-ins for AVID MC 6.5 & Symphony 6.5 (PLAV-RW1

V1.2) and ADOBE Premiere CS6 (PLAD-RW1 V1.2) enable full

demosaic/debayer processing of F65/F55/F5/FS700 RAW files.

Both these plug-ins also allow source selection setting for gamma

and gamut. The selection available is S-Log2/S-Gamut or

Rec709/Rec709 when working with RAW files. It is recommended to

set source setting to S-Log2/S-Gamut to maintain maximum highest

quality image processing.

AVID MC7 The latest release of Media Composer will support 4K/HD

XAVC and F65/F55/F5/FS700 RAW files via AMA plug-in support. A

major feature of MC7 is the added support for 3D LUTs. The newly

announced SONY LOOK PROFILES will be available to users that wish

to finish their HD project using MC7.

Workflow Guide

ADOBE Premiere CC now natively supports 4K/HD XAVC with no plug-

in required. F65/F55/F5/FS700 RAW files are processed at full

resolution using a plug-in (PLAD-RW1 V1.2) available from Sony. This

will enable finishing of 4K projects within Premiere CC.

See Appendix A for software download site URL

Color Grade

The color grading process is typically the final step in a project. This

is where color corrections are applied. All the major grading

applications support CineAlta® camera files. To maintain the highest

quality, we strongly recommend relinking back to the camera master

files for the grade.

Grading plays a particularly crucial role in Sony RAW and S-Log 2

productions. In the early days of digital cinematography, dynamic

range was relatively limited. Productions needed to take extra care to

avoid clipping the highlights or crushing the blacks. To achieve the

desired look, it was common to “paint” the camera, using Knee, Slope,

Multi-Matrix and other camera controls. For these productions, the

grading step was often considered optional.

Times have changed. Today, Sony CineAlta cameras achieve over 14

stops of dynamic range—a dramatic improvement. This upgraded camera

performance has been matched by upgraded recording technologies,

both S-Log 2 encoding and RAW recording, to capture the full range

of camera output without clipping highlights or crushing blacks.

For these reasons, there’s no need to paint the camera on S-Log 2

shoots—and the paint controls are completely disabled on Sony RAW

shoots. Everything the image sensor detected can now be captured,

recorded and delivered to the grading session. This enables both

better picture quality and more powerful color correction to

produce amazing final results.

Grading applications that support native XAVC™ HD and 4K files

Assimilate Scratch


Resolve

FilmLight Baselight

Workflow Guide

Grading applications that support native SRFile content

Assimilate Scratch

Autodesk Flame


Resolve

Digital Vision Nucoda

DVS Clipster

33 FilmLight Baselight

Quantel Pablo

Grading applications that support native Sony RAW files

Assimilate Scratch

Autodesk Flame


Resolve

Digital Vision Nucoda

DVS Clipster

FilmLight Baselight

Quantel Pablo

Workflow Guide

You can also adjust multiple F5 and F55 cameras to match during pre-

production. This enables multi-cam productions like sitcoms or TV

dramas to achieve superb consistency and efficient post-production,

even at 4K resolutions.

Sony Look Profiles

Sony Look Profiles are intended to provide an easy starting point for

color grading in a TV workflow. The Look Profiles utilize and maximize

the wide latitude and wide color reproduction capabilities of the Sony

F65/F55 cameras. Look Profiles are provided as 3D LUT files to apply

in different color grading applications. Additionally these different

Look Profiles can support workflows for RAW, SRFile, XAVCTM and

MPEG2 formats.

The input reference for all the Look Profiles is based on S-Log2 (tone

curve) and S-Gamut (color space). RAW footage should be set S-Log2

and S-Gamut as the RAW output setting when importing into the grading

application. SR File, XAVC and MPEG2 should be recorded with S-Log2

and S-Gamut setting. These Look Profiles can be used for either Input

LUT or Output LUT during grading except Cine+709 LUT. This LUT

should be applied as an output LUT.

Before (S-Log2/S-Gamut) After (Look Profile)

Also, the F65 V3.0 (Release end of June/2013) and RAW Viewer V1.1

will implement Look Profiles. The F65 will be able to record metadata

referencing the Look Profile number which is saved with the RAW

files. Plus you can select the same Look Profile with RAW Viewer V1.1.

Summary of each Look Profile:

Workflow Guide

To support various workflows for color grading, we have prepared

different variations of Look Profile.

1. LC-709

Output tone curve is a low contrast video tone. Highlight is lightly

compressed and it is easy to expand during grading. Shadow detail is

also lightly compressed. Color reproduction produces better skin

tone. Total color is less saturated than typical Rec709 to provide

more room for color grading.

2. LC-709TypeA

This Look Profile is a different version of “LC-709”. This profile is

designed to simulate the conventional digital camera, such as Sony

HDW-F900 and Alexa. Skin tone is slightly different compared to LC-

709. Mid tone contrast is the same as “LC-709”. Black has small offset

to maintain compatibility with conventional cameras. Total color is

less saturated than Rec709 to provide more room for color grading.

3. SLog2-709

Total color is less saturated than Rec709 to provide more room for

color grading. Tone curve maintains original S-Log2. This Look Profile

is suitable for people who have good experience with processing S-

Log2 directly.

4. Cine+709

This profile emulates film color. Negative-film and Positive-film are

combined into one and applied as tone curve for TV production. This

Look Profile is designed for monitoring use. If you want to grade

based on this Look Profile, you should be set this Profile as output

LUT in the grading system. This means grading parameter should be

applied S-Log2/S-Gamut, and then Profile is applied after the grading. Naming rule for Look Profile

“LC”: Low Contrast Tone

“709”: Less saturated 709 color.

“SLog2SGamut”: Tone is S-Log2 and color is S-Gamut.

“709(800%)”: Basic tone curve is 709, lightly compressed highlight from 70%

to 800%.

*:High Effect Skin Tone

Contrast

Color

Saturation

Color

Reproduction

High light

compression

Low light

compression

Tone: S-Log2

Color: S-Gamut * (Log) * S-Gamut *(Log) Not applied

1. LC-709 ** ** L709 (1) ** *

Workflow Guide

2. LC-709TypeA ** **

F900/Alexa

like ** *

3. SLog2-709 * (Log) ** L709* *(Log) Not applied

4. Cine+709 **** *** Film like * *

Tone: 709(800%)

Color: REC709 *** *** REC709 *** Not applied

(1) L709: Less saturated 709 color

S-Log2/S-Gamut (Original) 1. LC-709

2. LC-709TypeA 3. SLog2-709

4. Cine+709 Tone: 709(800%), Color: 709

Workflow Guide

Sample Workflows

Workflow Guide

Appendix A: Free Sony Software

To support our CineAlta® cameras, Sony offers a range of useful

applications, plug-ins and utilities, all of which are available for free

download.

http://www.sonycreativesoftware.com/download/updates

Content Browser (for XAVC™, MPEG-2 50 Mbps and NXCAM® files). An

all-in-one clip management application that can be used with the latest

portfolio of Sony camcorders and decks. Content Browser

integrates XDCAM® Browser and Content Management Utility (for

NXCAM files) into a single application. Available for Windows® and

Macintosh® operating systems.

Sony’s Content Browser software makes it easy to play

back camera files on both Windows and Macintosh

computers.

SR Viewer SRV-10 (for SRFile). Enables you to play SRFile content on

a PC. Incorporates SRSUM checksum mode.

RAW Viewer (for F65RAW, F55RAW, F5RAW and FS700RAW). Enables

you to play and color grade Sony RAW files on a PC. Transcode to

DPX, OpenEXR formats. Decode resolutions up to 8K with F65RAW

files.

http://www.sonycreativesoftware.com/download/updates

Workflow Guide

Even mid-spec computers can support real-time playback of

4K clips using Sony RAW Viewer software.

PDZK-LT2 XAVC™/XDCAM® plug-in for FCP X. Enables viewing and

editing in Final Cut Pro X for XAVC and XDCAM/XDCAM EX® files

stored on Sony SxS® cards.

PDZK-MA2 XAVC/XDCAM plug-in for Avid. AMA plug-in enables viewing

and editing in Avid Media Composer, Symphony and NewsCutter

products for XAVC and XDCAM / XDCAM EX files.

SRPA-10 SRFile plug-in for Avid. AMA plug-in provides support for SR-

Lite, SR-SQ and SR-HQ modes. Enables Export timeline sequence as

SRFile (SStP) MXF. Link to AMA Volume support for SRFile (SStP) file

structure.

SRPM-10 SRFile plug-in for FCP 7/X. Provides support of SRFile

content for both Apple Final Cut Pro 7 and Final Cut Pro X.

PLAD-RW1 RAW plug-in for Adobe. Adds support for Sony RAW MXF

files in Adobe Premiere Pro CS6 products, allowing viewing and editing

capabilities.

PLAV-RW1 RAW plug-in for Avid. This AMA plug-in enables viewing and

editing for Sony RAW MXF files in Avid Media Composer and Symphony

products.

SR-D1 Utility. Device driver and utility enables you to mount the SR-D1

SRMemory™ drive in both Windows® and Macintosh® operating

systems.

AXS-CR1 Utility. Supports the AXS-CR1 AXS memory card reader with

features that include displaying drive and card status, full card

formatting, saving AXS-R5 firmware updates onto the card, retrieving

log data from a card and updating card firmware.

Workflow Guide

Appendix B: FS700RAW

Starting in June 2013, the NEX-FS700 is further enhanced by stunning

4K RAW cinematic capture, in combination with the Sony HXR-IFR5

interface unit and AXS-R5 RAW recorder.

In addition to realizing the full potential of the FS700’s imager, RAW

recording affords tremendous flexibility in postproduction. RAW

data can be archived for repurposing at a later date, can be used in an

off line or on line workflow, and offers the flexibility of debayering

to any format or codec of choice.

The FS700 features a 4K Super 35 Exmor® CMOS sensor (total 11.6

million pixels). With an optional firmware upgrade, the FS700 outputs

4K bit-stream data over 3G-SDI. The HXR-IFR5 interface unit has a 3G-

SDI input and will transfer the 4K RAW data for capture onto Sony’s

AXS-R5 recorder.

The 4K RAW signal from the FS700 has 4096 x 2160 resolution at

frame rates of 23.98p, 25p, 29.97p, 50p and 59.94p. 4K 120 fps high

speed recording is available in a burst of approximately four seconds.

The FS700 will also output derived 2K RAW without windowing. The

system can record full-resolution 2K images continuously at 120 and

240 fps. Unique to this process, there is no line skipping or sensor

windowing. So there’s no crop factor, no loss in angle of view. 2K is

an excellent choice for HD productions, providing the power of RAW

at a 75% savings in bitrate, compared to 4K.

Once 2K or 4K RAW data is captured onto the AXS memory card, the

workflow is the same as for AXS-R5 RAW recording with the F5 and

F55. So you can mix and match cameras in a unified 4K RAW workflow.

NEX-FS700 HXR-IF5 AXS-R5

Workflow Guide

Appendix C: The Sony Digital Motion

Picture Center

We believe the production community needs a place to come together,

share experiences and stay current with the latest digital technology.

With the creation of the Digital Motion Picture Center, located right

on the Sony Pictures Lot at Stage 7, Sony has made a long term

commitment to strengthening our ties to the film community.

The DMPC is your one stop learning destination for:

Camera and lens testing/training

Dailies, Editorial and DI workflow optimization

Partnering with third party solutions

4K content viewing

And much more

The DMPC offers weekly hands-on training on Sony's full range of

Super 35mm cameras---especially the groundbreaking F65 and the

F5/F55. Here, on one stage, filmmakers can shoot 4K pictures,

process them through a 4K workflow and view the results on a 4K

projector!

In addition to our product line, the DMPC features a wide range of

third-party workflow solutions that support our technology. You can

freely test any workflow at your discretion.

Your input and experiences are critical to Sony as we develop the right

tools to advance the state of art in digital production.

sony.com/DMPC

http://www.sony.com/DMPC

Workflow Guide

Appendix D: Glossary

16-bit Linear RAW. Type of RAW recording used by the Sony F65, F55

and F5 (in conjunction with the companion SR-R4 and AXS-R5

recorders). Each additional bit doubles the number of discrete

colors that be recorded per RGB channel. Sony 16-bit RAW retains 16

times as many colors as conventional 12-bit RAW and 64 times as many

colors as 10-bit RAW. By design, 16-bit RAW is the perfect gateway for

16-bit linear ACES post-production.

2K. An image with 2048 pixels horizontal resolution. In the Digital

Cinema Initiatives (DCI) standard, an image container of 2048 x 1080.

This is closely related to 1080p high definition (1920 x 1080). The

Sony F55, F5 and FS700 cameras can output a 2K image without

windowing, which means no loss in angle of view versus the 4K image.

4K. An image with 4096 pixels horizontal resolution. In the Digital

Cinema Initiatives (DCI) standard, an image container of 4096 x 2160.

This is closely related to the Ultra HD or Quad Full HD (QFHD)

picture (3840 x 2160).

8K. An image with 8192 pixels horizontal resolution.

AAF. Short for Advanced Authoring Format. After editing

transcoded offline files, AAF files output by a nonlinear editor can

enable returning to full-resolution camera original files during the

color grade. This process is called relinking or round-tripping.

ACES. Short for Academy Color Encoding System. ACES is a

postproduction specification that helps ensure that the color the

cinematographer intends is the color the audience sees. The system

uses 16-bit linear storage. The benefits of Sony S-Gamut, S-Log 2 and

16-bit linear RAW recording become very clear as the transform into

ACES color space works beautifully.

ASC CDL. Short for American Society of Cinematographers Color

Decision List. A tool that enables color decisions early in the

workflow to be accurately communicated to subsequent stages. For

example, decisions made during On-Set Look Management can be sent to

Dailies and Color Grading.

Checksum. A small block of data used to confirm the integrity of a

file backup process. Critical in file based workflows, checksum helps

confirm that all the data recorded on the memory card is correctly

transferred and backed-up. The most common checksum algorithm for

video files is MD5.

Dailies. In contemporary digital cinema productions, the generation of

backup files, audio sync, offline editing files and any other

transcoded copies of camera original files that a production might

need.

Workflow Guide

DCI. Short for Digital Cinema Initiatives, an industry standard-setting

body. The DCI standard encompasses image containers of 2K (2048 x

1080) and 4K (4096 x 2160).

DNxHD. Short for Digital Nonlinear Extensible High Definition, a

lossy video codec developed by Avid. DNxHD reduces storage and

bandwidth requirements in postproduction. It is an implementation of

the SMPTE VC-3 standard.

Exposure latitude. The ability of a camera to capture variations in

scene illuminance from deep shadows to bright highlights, typically

measured in exposure “stops.” The photographic equivalent of dynamic

range.

Gamma. An encoding technique for handling grayscale in video and

HDTV systems. For accommodating extreme highlights and shadows,

gamma encoding has been surpassed by Sony S-Log 2 logarithmic

encoding and RAW recording.

Gamut. A range of color. Gamut can refer to the range of permissible

color in a signal format such as Rec. 709 or the range of color

achieved in a camera or display. The Sony S-Gamut color system of the

F65 and F55 achieve a uniquely broad range of colors.

Grading. Also known as color grading or color correction, the final

adjustment of a production’s color to achieve shot-to-shot

consistency and desired creative looks. Best performed with camera

original file formats.

Grayscale. The range of possible tones from deepest black to

brightest white. Several breakthroughs in digital motion picture

cameras and workflow involve improvements in grayscale handling

from conventional video gamma encoding to S-Log encoding and

ultimately to RAW recording.

K. 1024 pixels of horizontal resolution. The term arose in digital film

scanning and is now frequently used to describe 2K, 4K and 8K digital

cinema systems.

LUT. Short for Look Up Table, a conversion used to transfer an image

from one color space or grayscale encoding to another. LUTs are

particularly useful for converting S-Log 2 and S-Gamut images for

conventional viewing. A 1D LUT manipulates the tone curve of an

image, while a 3D LUT can change the color relationships within the

image.

Native editing. Editing performed on the camera original or “native”

file formats. All Sony CineAlta camera formats are supported by

selected major nonlinear editing systems.

ProRes. A family of lossy intermediate codecs designed by Apple.

ProRes reduces storage and bandwidth requirements in

postproduction. It supports resolutions from SDTV up to 4K.

Workflow Guide

QFHD. Short for Quad Full HD, an image of 3840 x 2160, the

resolution used in consumer Ultra HD television systems. This is

closely related to the digital cinema 4K standard of 4096 x 2160.

RAW. A system that can record everything the image sensor can

capture. RAW images from single-sensor color cameras are not

directly viewable because the data is recorded prior to the “de-

Bayering” or “de-mosaicing” process that creates an RGB color

picture. RAW captures sensor data without conventional TV camera

processing such as matrix, multi-matrix, knee, slope, and detail.

Rec. 709. Short for ITU-R Recommendation BT.709, an international

high definition standard. Rec. 709 specifies pixel count, frame rates,

color encoding and color gamut. Each of these television-based Rec.

709 parameters has been exceeded by recent digital cinema cameras.

Relinking. The process of going back to the camera original file

formats for the color grade, after editing a transcoded or offline

file format. Recommended for highest quality.

S-Gamut. The range of colors reproduced by the Sony F65 and F55

cameras, S-Gamut extends far beyond HDTV Rec. 709, beyond other

digital motion picture cameras and even beyond the range of print film.

S-Gamut is made possible by a Color Filter Array (CFA) with very high-

purity dyes. Sony has released to our Alliance Partners a selection of

3D LUTs (look up tables) that will simplify grading from S-Gamut to

Rec. 709 for projects that have a requirement for Rec. 709 finishing.

These 3D LUTs will be available for customers to download as well.

S-Log 2. A Sony system for logarithmic grayscale encoding that

captures greater exposure latitude than gamma encoding. Sony’s

original S-Log curve was created for the F35 and F3 cameras and

captured their full latitude: about 12 stops. With the latest F5, F55

and F65 cameras capturing 14 stops, Sony needed to revise this curve.

The result is S-Log 2, which can handle the extended exposure latitude

now available.

SRFile. The Sony MPEG-4 SStP codec that originated with HDCAM-SR®

tape recording, now used for high definition file-based recording at

880 Mbps (SR-HQ), 440 Mbps (SR-SQ) and 220 Mbps (SR-Lite).

Transcoded editing. The process of editing offline files that are

different from the original camera file formats. Transcoded editing

often uses Avid® DNxHD® or Apple® ProRes® files. These typically

have lower bitrates and lower quality than the original camera files.

Ultra HD. Consumer Electronics Association (CEA) designation for

television systems with Quad Full HD resolution: 3840 x 2160. This is

closely related to the digital cinema 4K standard of 4096 x 2160.

XAVC™ recording. The Sony system that uses next-generation

H.264/AVC Intra-frame coding. Establishes a cost-efficient system for

High Frame Rate HD and 4K/60p production.

Workflow Guide

XML. Short for Extensible Markup Language. After editing

transcoded offline files, XML files output by a nonlinear editor can

enable returning to full-resolution camera original files during the

color grade. This process is called relinking or round-tripping.

Sony Electronics Inc.

1 Sony Drive

Park Ridge, NJ 07656

© 2013 Sony Electronics Inc. All rights reserved. Reproduction in whole

or in part without written permission is prohibited. Features and

specifications are subject to change without notice. Sony, CineAlta, Exmor,

HDCAM SR, NXCAM, SRMemory, SxS XAVC, XDCAM, XDCAM EX and the Sony

make.believe logo are trademarks of Sony. All other trademarks and logos

are property of their respective owners.

sony.com/35mm V2.0; 6/17/13

http://www.sony.com/digitalcinema

Sony CineAlta Workflow Guide

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