Why hasn’t Sony released a high-end cinema camera armed with a medium format sensor? There’s no doubt that Sony can do that. This camera could be a game changer in cinematography and give a tough fight to the mighty ARRI 65. Will a CineAlta flagship be on the horizon?

Sony CineAlta 65

That’s a big name. When the full frame is not enough for certain cinematography scenarios, then the medium format might become the ultimate solution. Sony had its CineAlta 65 before, and we’re talking about the F65 (announced in 2011). The Sony F65 was the first CineAlta camera. However, unlike the ARRI ALEXA 65, the F65 was a Super 35 camera that was capable of 8K resolution in 60 frames per second. That was a head-of-its-time camera. It failed to gain traction. The F65 successor is the acclaimed Sony VENICE, which has an outstanding full-frame sensor. So basically, no true CineAlta 65 was even released. Why?

Now imagine this: A VENICE 65 with a medium format Rialto unit. That would open up more dedicated cinematography possibilities to filmmakers. For instance, Top Gun III with six medium-format Rialto units inside a fighter jet cockpit. That would produce ultra-cool shots that look tremendous on the big screen!

Cobbler’s children have no shoes

Sony knows sensors. A lot of well-known camera manufacturers utilize Sony’s sensors. Moreover, a lot of well-known camera manufacturers implement Sony’s medium format sensors (Fujifilm, Hasselblad, and more). By definition, Sony has a ready-to-use IMX461 medium format sensor, which is a powerful and well-capable very large sensor. However, it was designed to meet the needs of still cameras. Sony states that this sensor can’t be applied to motion picture cameras, and it has an open-gate FPS limitation.

Nevertheless, Sony surely can further develop it to be adapted to motion pictures as well. On the other hand, Gpixel has more focus on medium format sensors for motion picture use, but Sony can overcome that if there is a will.

Not just cinema cameras

If Sony aims for medium-format videography, then it would become a game-changer, since a medium-format sensor can be implemented inside Alpha bodies, low-end Cinema Line bodies, and more. However, that would be a whole new ball game, since it will destroy Fujifilm’s medium-format market, and even cannibalize other full-frame Alpha bodies. Hence, focusing on a super-flagship medium format motion picture camera (CineAlta) to counteract the fearsome ARRI 65 is much more logical. And as mentioned, Sony has the right R&D resources to do that.

Medium format Rialto

Now imagine this: A VENICE 65 with a medium format Rialto unit. That would open up more dedicated cinematography possibilities to filmmakers. For instance, Top Gun III with six medium-format Rialto units inside a fighter jet cockpit. That would produce ultra-cool shots that look tremendous on the big screen, especially IMAX, as the medium format excels in close shots without the need to use wide lenses that distort faces. Additionally, that camera can be a solid answer to IMAX film. As it seems that the 2nd generation of IMAX film cameras is being postponed, more valid 65 solutions must be established. Thus, let’s ask the question in the title: Will Sony ever release a medium-format cinema camera?

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