FS: Sony F55 complete shooting Kit

Hello, unfortunetly gear I'm ready to sell my Sony F55 shooting Kit including the following:

1 x camera of Sony F55

1 x recorder Raw Sony R5

3 x 512 GB AVXM cards

1 x OLED Sony EL100 viewfinder

1 x Kit of LWS ARRI including BP8

1 x Solidcamera Scatterbox

4 x Olivine Batterys

1 x charger Sony Olivine

1 x pair of handles

1 x in case of shipment

The train is in excellent shape, low hours and comes with the latest firmware. Delivery worldwide. I take real care of my camera and really like the work that sony made with this device, but I changed my business, then here is your chance to get your hands on this great camera.

But I only sell good deals, I'm in no hurry. If interested please PM me.


I am interested in the R5 and maps if you want to sell them separately.

See you soon.

[email protected]

Tags: Large Sensor Cameras

Similar Questions

  • How can I find S Log 2 LUT (Sony F55) and apply to clips?

    I watched the tutorial on the use of LUTS in CC, hoever I can't find for camera Sony F55 and the Slog2 profile. There is no and if not what is the usual procedure of application a LUT in this case? My first experience with this process so forgive my ignorance.

    Hi Bretacious1,

    Discover the lut on Sony community site: http://community.sony.com/t5/F5-F55/NEW-3D-LUT-s-for-F55-and-F65/m-p/135617#U135617 who should help you get started.

    To apply the LUT, add an effect of Lumitri and then navigate to the LUT to select. Click OK and you will see the LUT working on your images.

    Hope that helps.

    Thank you

  • How to import pictures from Sony F55 CS6 first?

    I'll run a project on hard disk with a F55 Sony (not in 2 k or 4 k). My DoP gave me some test footage, but I can't import the images in the first. It can import native or do I need to download all additional items?

    Thank you, Jason

    For CS6, you will need to download the plugin Sony RAW found here:



    Peter Garaway


    Premiere Pro

  • Sony F55 Hard case / Soft

    I just picked up this morning my case F55 of guys in the box and thought I'd share. It's wonderful - made really intelligently. The cut out for the camera fits the plate so the R5. Out of the shelf to the right and there is plenty of space for cables, handshaking etc. I highly recommend them if you need to box your camera safely.

    Can anyone recommend a more gentle/soft case for the 55 size edge? Ideally one that I can fit a laptop in also.


  • I bought the complete student kit, and it says I have to buy illustrator yet.

    Illustrator says: 'buy now' instead of the installation, even if I bought the full package ($ 199 /yo).

    Hi Nick,

    Please check the help below document:

    Applications creative Cloud back in test mode after an update until 2015 for CC

    Kind regards


  • a7ii modes of viewfinder (studio shooting)


    How to set the mode viewfinder sony? I shoot in studio with strobes, so ISO 100, f 16, which makes the completely dark viewfinder. And I need to see what exactly I'm shooting and where I focus. How viewfinder show not the simulation of exposure, but what I see?

    Thank you!

    I had a look at my camera now

    Again, go in the menu
    Go to the tab with the toothed wheel

    Look for the option
    Live view and change it to OFF

    It should not emulate the end result and work as an optical viewfinder

    Good luck

  • are there images F55?


    I need your help...

    Where can I find F55 film? I have just seen on vimeo that you will find

    the search for the "Sony F55" point. The problem is all these video make

    run away from me this camera, especially these "day and night tests.

    Does anyone know a commercial example taken with this camera?


    Try these: http://www.xdcam-user.com/2013/04/sony-pmw-f55-raw-samples-for-download/

  • spherical 2.35 F55


    I'm going to be taken with a Sony F55 (4K RAW) next month and I have a very simple question.
    Is it possible to record in spherical 2.35?

    02:35 by spherical is actually just 16:9 with a Matt 02:35 added in post. You can set up 02:35 frame guides with your viewfinder electronic marker, and then make daily than elsewhere, or simply add in your timeline in post. If you want true 02:40 x 2 anamorphic which is another story

  • Shooting 2 k S-Log2 on F5 (AXS - R5) / Prores 422

    Simple questions that I had a hard time getting replied:

    The Sony F5 can shoot 2 k S-Log2? If so, how?

    What is the best way to convert XAVC, 2 k, etc the F5 to Prores 422?

    I was on the phone with a lot of people without any resolution for this.

    Thank you


    The F5 won't XAVC 2 k or 2 k RAW until September free firmware update.

    Slog2 is available only when shooting XDCAM, XAVC or SR Codec internal cards, not BELIEVED. RAW is RAW.

    The R5 saves only the RAW format, nothing else.

    To convert one of these ProRes formats I highly recommend to use DaVinci Resolve. The Lite version is FREE and will until HD resolution. The full version can produce higher like 2 k and 4 k resolutions.

    I wrote a step by step guide how use DaVinci to convert formats of files here: http://cinetiny.com/5SG4yVnQ

  • F55 Davinci XDCAM Workflow issues

    Hi all

    Another Question which I hope that there is an answer.

    We tested the Sony F55 workflows and XAVC flavors apparently cannot be reconditioned via content browser 2.2 (as mentioned in another post) so we use FCPX for what is very well.

    I tested F55 using Davinci Resolve (Resolve9.1 / ML 10.8.5 / Mac Pro 3.1) and I can see the XAVC flavors and these make it very well but all the flavors of XDCAM are black at will and come out black when I return them.

    I'm looking around online while I type this but did anyone aware of this and what I need to do please?

    a big thank you to the community


    9.1.6 will update fixed this problem... looking for durther is the version that is supported for F55

    Detective Conan Miss Marple

  • Workflow ACES thread

    First of all a big hello to everyone

    Today I received my new sony F55 and I feel very comfortable with the camera, of course a few things that are missing sill, as the HFR and exposure tools, but that's another thread. Here, I want to discuss, as says the subject, ACES workflow with raw F55.

    And to be honest, I want to keep it as simple as possible.

    Lets start with the basic things:

    0 configuration double shooting (SxS and FIRST):

    1 eat them both

    2 use the SxS equipment for editing in Adobe Premiere

    3. send an EDL "Davinci Resolve"

    -> 4. Relink raw


    --> 4.1. Convert materials first with Sony RawViewer DPX sequence (Workingspace ACE, stay with the meta settings, Export DPX)

    --> 5.1. Link again to sequence DPX


    6. start ranking primary, secondary


    ---> 7. The part the more delicate that I must apply luts limiting to conform to the user end monitors, projectors...

    ---> 8. Good format, if I chose DPX format to ingest the rank with, how to export a single file like Mov H264.

    For example, when I use ranking Speedgrade a DPX sequence and then want to restore a file H264, I will eventually get the sequence just like unique dpx popular with extention mov, but not a single file.

    Maybe we can bring light into the big advantage of the F55 and ACES )

    Bravo and thank you very much.

    thebird wrote:

    First of all a big hello to everyone

    Today I received my new sony F55 and I feel very comfortable with the camera, of course a few things that are missing sill, as the HFR and exposure tools, but that's another thread. Here, I want to discuss, as says the subject, ACES workflow with raw F55.

    And to be honest, I want to keep it as simple as possible.

    Lets start with the basic things:

    0 configuration double shooting (SxS and FIRST):

    1 eat them both

    2 use the SxS equipment for editing in Adobe Premiere

    3. send an EDL "Davinci Resolve"

    -> 4. Relink raw

    This first method you suggest is go to work. I already did with FCPX, it's quick and painless. Shooting MPEG50 to SxS, raw to the AXS. Ingested MPEG to FCPX, then by solving related to the MPEG initially, but the difference between determination and NLE more is that it expects users to connect new media to and makes it completely painless and quick.

    I don't mess with DPX except if you need to share with VFX shots, in this case it is the standard.

    Even then, frankly, I would still make the first method MPEG offline and just do DPX for people who need them, as appropriate.

    #7 & 8 points

    7 - ACES uses an output module to target what is available that you will. So if for HD video, select you the ODT (output to a display Transform) to Rec 708. For the web, you could choose Rec 709 or a sRGB ODT.

    8 - resolve can create quite a few outings, including video MPEG4 (although VERY high speed).

    Will is not always the right tool, but it seems he got cevered to your needs, even the Lite version free.

  • . Video 4K JPG files

    using first 14 elements, is it possible to extract a single image. JPG files?

    Regarding the answer to Ann, he is much more than that.

    One of the best parts of 4K is to be able to take pictures very usable out of video footage.  Up to 4K video pictures picking was hightly limited.  The current dozen 4K capable of cameras from Sony and Panasonic shoot 30 frames complete a second kind of similar continuous burst.  Panasonic it promotes quite difficult and even some in camera tools to capture frames.   I've got 13 x 19 prints that are clear and colorful.

    In the elements of Prime Minister, there are two ways to capture still images.

    The Tools menu has Freeze Frame that will create a. BMP file, save it, insert it into the time line or both.  4 K images, it will be on a picture of 8MP about 20 MB.  He is very quick, easy and useful.

    Share/export > Comupter it is a choice for 'Image '.   In the field of 13, the default values do not go beyond 1920 x 1080, but the button "Produce" offers more useful choices.  You can define 3840 x 2160 corresponds to the current format of 4K consumption, minimize the JPEG compression and elect return to the maximum bitdepth.  The result will be a JPEG of 8MP about 6 MB.

  • Higher resolution of the photos?

    Years I'm locked in a montage sequence Adobe to create (*.) PSD album pages) (8.5x11x300pix ~ 47 MB), then save them in (*.) (JPG) (8.5x11x300pix ~2.5MB). But the email them, it's to make them easily readable on any monitor, I have them shrink down to an acceptable (*.) (JPG) (3.86x5x300pix ~ 600 KB) size. I have more than 4000 album pages, each recorded in 3 sizes above! (I think that it is not possible), but my question is, how can I get a (net) e of the higher resolutionunacceptable image that can be presented in the same way that I use at the moment, it's still easily readable on any monitor do?

    I think you should probably have been on the forum of Photoshop, but I'll answer anyway.

    First let's get the terms straight. San you create images, the PSD and Some JPEG size 8.5 X 11 X 300pix... I think you mean 8.5 X 11 at 300 PPI. This means that the images are 2550 X 3300 pixel. There is no difference in the resolution or sharper of the PSD vs the JPG provide you don't compress the JPEG format to the death. The only difference is the size of the file and the quality of the information in pixels of each individual pixel. The quality setting of 100% for a JPEG, it would be very difficult to distinguish between the pixels of an image JPEG and PSD A. In order to test this open from your PSD files and then place a JPEG of the same image on the top layer of the PSC and set the blending mode to difference. All that's not completely black pixel is a pixel where information in JPEG format is different from that in the PSD.

    Now scared to talk to the images you want to e-mail. You say that they are registered to 3.86 X 5 X 300 pix. Once again, I think you mean 3.86 X 5 at 300 ppi. This means that the smaller JPEG images are 1158 X 1500 pixels. According to today's standards, these are terribly small images. There is also another point. The PPP settings for the images that you want to send any at all. The TPP for the images that you want to put on a web page is not serious at all. The PPI also makes no difference if the image is intended to be used in a video or flash or displayed on a computer screen. Only the images intended for a printer to print on paper or some other media care about the PPP settings. Everything must be sized by the dimensions in pixels.

    To prove my point download these two images and open them in Photoshop and check the setting of the PPI. The place in something on a printer as a doc word or Illustrator set up for a print document and to check the size.

    My iPhone push 2448 X 3264 pixel, and I send all the time. You can see almost every pixel on a standard HD screen. Sending your 1100 images of wide pixels to a HD monitor would fill only about half of the screen.

    So, here's the long and short of it. Most cameras now days hoot over 2500 images big pixel. Even my Sony point and shoot them takes pictures that are 4000 X 6000 pixels. If you resize your original images and reduce the number of pixels you reduce the resolution of the image regardless of the DPI setting. You limit your ability to manipulate the images again later. I didn't do it. Save for printing on 8.5 X 11 at 300 PPI is probably good enough, but with some high quality todays printers you can increase by 400 or maybe even more. In regard to the fixing of the jpegs to the e-mail or by sending them to a computer screen or monitor you want the images at least a scale display is in pixels. Many email clients will automatically reduce an image as an attachment to 600 or 1000 pixels wide, but in a modern 4K or even 5K monitor these images would be very small. I would design my workflow with final destination in mind and you ensure that I don't reduce the size of the camera originals. At least that's my 2 ¢.

  • issue of converted MP4

    Hi all

    I know that final cut pro x can read the MP4.

    but the problem is that the editor we cooperate with use final cut pro 7.

    So I have to do all the mp4 converted to PORES422 without lost quality.

    and I know little about final cut pro 7... (I understand that this is area of discussion for X, I'm sorry, but I'm powerless)

    I have "a lot of" MP4 to convert. (we use sony A7S when shooting)

    We know how can I convert mp4 to Pores422 with more efficiency AND without loss of quality?

    ("convert all video" will lose quality!) "I think that maybe there will be some converter for professional use...?)

    and I wondered how professional post production company convete the file from different codec... ideas?

    some advise or tutorial will help me a lot.

    Thank you very much!


    You can use the compressor or MPEG Streamclip to batch convert to ProRes format.

  • How to use the parameter "User Menu"

    How one in preferences in the user Menu?

    And if the Sony manual is not answering your questions, there is Chapter 3, pages 51-56 of my book.



Maybe you are looking for