Sony CineAlta Workflow Guide

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

Version 2.0

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, youre 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.
Theres an amazing world of production possibilities out there.
And nobody brings it to you like Sony.

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Basic Workflows

The workflow for CineAlta cameras can include the following

stages:
1. On-set look management. Creating in-camera looks during preproduction 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.

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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

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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 SRPC4 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
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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.

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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. Onset 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, cinemastyle 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

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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 higherquality 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

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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.

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ADOBE Premiere CC now natively supports 4K/HD XAVC with no plugin 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 rangea 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, theres no need to paint the camera on S-Log 2
shootsand 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

Blackmagicdesign DaVinci
Resolve
FilmLight Baselight

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Grading applications that support native SRFile content

Assimilate Scratch

Autodesk Flame
Blackmagicdesign DaVinci
Resolve
Digital Vision Nucoda
DVS Clipster

33

FilmLight Baselight

Quantel Pablo

Grading applications that support native Sony RAW files

Assimilate Scratch

Autodesk Flame
Blackmagicdesign DaVinci
Resolve
Digital Vision Nucoda
DVS Clipster
FilmLight Baselight

Quantel Pablo

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You can also adjust multiple F5 and F55 cameras to match during preproduction. 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:

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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 LC709. 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 SLog2 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
Tone: S-Log2
Color: S-Gamut
1. LC-709

Skin Tone
Contrast

Color
Saturation

Color
Reproduction

High light
compression

Low light
compression

* (Log)

S-Gamut

*(Log)

Not applied

**

**

L709 (1)

**

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2. LC-709TypeA
3. SLog2-709
4. Cine+709
Tone: 709(800%)
Color: REC709

**

**

* (Log)
****

**
***

F900/Alexa
like
L709*
Film like

***

***

REC709

**

*(Log)
*

Not applied
*

***

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

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Sample Workflows

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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.

Sonys 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.

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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 SRLite, 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.

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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.

NEX-FS700

HXR-IF5 AXS-R5

In addition to realizing the full potential of the FS700s 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 3GSDI input and will transfer the 4K RAW data for capture onto Sonys
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 theres 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.

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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

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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.

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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 productions 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.

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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 deBayering 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 highpurity 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. Sonys
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.

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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

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