Sony F65 Delivers First True 4K Music Video for New Taylor Swift Single

   Sony F65 Delivers First True 4K Music Video for New Taylor Swift Single

PR Newswire

PARK RIDGE, N.J., Sept. 5, 2012

PARK RIDGE, N.J., Sept. 5, 2012 /PRNewswire/ -- The music video for Taylor
Swift's blockbuster #1 single -- "We are Never Ever Getting Back Together" –
is the first ever to be shot in true 4K using Sony's F65 CineAlta™ digital
motion picture camera. Shot over one day recently at Sony Pictures Studios in
Culver City, Calif., the video premiered worldwide on Aug. 30.

Swift worked with acclaimed director Declan Whitebloom and veteran DP Paul
Laufer, who each brought extensive music video, film and TV credits to the
project. Supporting the crew were the full resources of Sony Pictures'
Colorworks DI facility and Sony Electronics' Digital Motion Picture Center
(DMPC), lending their expertise on every aspect from pre-production to the
final Digital Intermediate work.

This close collaboration helped realize the extremely creative vision that
Swift, Whitebloom and Laufer had in mind, matching the song's storyline with
Swift's strong personality and unique artistic expression. The video's concept
was ambitious: one long take using a Steadicam-mounted F65 gliding through six
distinct sets, with multiple lighting changes, talent choreography, wardrobe
changes and set piece moves.

"The video's success hinged entirely on the precise timing of Taylor and all
moving parts, down to every cue," Laufer said. "Added to the mix was a camera
that I hadn't worked with before. The perfect world had to happen and actually
it did."

After creating a storyboard for the video with Swift, Whitebloom and Laufer
started conversations with Sony about bringing the video to life using Sony's
F65 camera and its ability to deliver true 4K imagery.

"This is truly a breakthrough project, totally fitting for someone like
Taylor, who is the biggest artist in the world," said Whitebloom. "When I
visited Sony's Digital Motion Picture Center and saw the F65 first-hand, I was
blown away. This is the future."

After screenings of F65 footage, workshop sessions on the F65 at the DMPC and
consultation on post workflow at Colorworks, it quickly became obvious to
everyone that Sony's 4K technology was the perfect match for this project.
Laufer was especially impressed with the camera's functionality, its ease of
use and on-set flexibility, as well as its image quality.

"This camera delivers the best image of any digital technology I've ever
seen," said Laufer. "I love the skin tones.  How the color is rendered is
really impressive.  And then being here at the Sony Digital Motion Picture
Center and being able to watch the fruit of our labors straight-away on a huge
4K screen is such immediate gratification.  The F65 is a great new tool that I
look forward to using again." 

With the video needing to be turned around in a tight timeframe in order to
meet premiere deadlines, the team needed a camera system that would not only
match their concept and produce beautiful pictures, but also be an efficient
production solution.

"Working with this camera in 4K completed and really accented my vision,"
Whitebloom said. "The F65 seamlessly moved into the workflow and allowed great
latitude with the colors and the depth of the picture. It's given us a lot of
bang for our buck."

Swift herself was impressed with the Sony technology, how it helped to tell
the story of her song and ultimately create a deeper, and more intimate,
connection with her fans.

"Sony 4K lets my fans experience something brand new," Swift said. "I love
saying to them, 'Hey, this is a cool, amazing thing I found, how do you like
it?'"

SOURCE Sony Electronics

Contact: Tom Di Nome, Sony Electronics, +1-201-930-6357,
Tom.dinome@am.sony.com