Category Archives: PXW-FS7

XAVC-I v ProResHQ, multi-generation test.

I often hear people saying that XAVC-I isn’t good enough or that you MUST use ProRes or some other codec. My own experience is that XAVC-I is actually a really good codec and recording to ProRes only ever makes the very tiniest (if any) difference to the finished production.

I’ve been using XAVC-I for over 8 years and it really worked very well for me. I’ve also tested and compared it against ProRes many times and I know the differences are very small, so I am always confident that when using XAVC-I that I will get a great result. But I decided to make this video to show just how close they are.

It was shot with a Sony FX6 using internal XAVC-I (class 300) on an SD card alongside an external recording using ProResHQ on a Shogun 7. I deliberately chose to use Cine EI and S-Log3 at the cameras high base ISO of 12,800 as noise will stress any codec that little bit harder and adding a LUT adds another layer of complexity that might show up any issues all  just to make the test that little bit tougher. The slightly higher noise level of the high base ISO also allows you to see how each codec handles noise more easily.

A sample clip of each codec was place in the timeline (DaVinci Resolve) and a caption added. This was then rendered out, ProRes HQ rendered using ProRes HQ and the XAVC-I files rendered to XAVC-I. So for most of the examples seen the XAVC-I files have been copied and re-encoded 5 times plus the encoding to the file uploaded to YouTube, plus YouTubes own encoding, a pretty tough test.

Because in most workflows I don’t believe many people will use XAVC-I in post production as an intermediate codec I also repeated the tests with the XAVC-I rendered to ProResHQ 5 times over as this is probably more representative of a typical real world workflow. These examples are shown at the end of the video. Of course the YouTube compression will restrict your ability to see some of the differences between the two codecs. But, this is how many people will be distributing their content. Even if not via YouTube, via other highly compressed means, so it’s not an unfair test and reflects many real world applications.

Where the s709 LUT has been added it was added AFTER each further copy of the clip, so this is really a “worst case scenario”. Overall in the end the ProRes HQ and XAVC-I are remarkably similar in performance. In the 300% blow up you can see differences between the XAVC-I that is 6 generations old compared to the 6th generation ProRes HQ if you look very carefully at the noise. But the differences are very, very hard to spot and going 6 generations of XAVC-I is not realistic. It was designed a s a camera codec. In the same test where the XAVC was rendered to ProRes HQ for each post production generation any difference is incredibly hard to find even when magnified 300%. I am not claiming that XAVC-I Class 300 is as good as ProRes HQ. But I think it is worth considering what you need when shooting. Do you really want to have to use an external recorder, do you really want to have to deal with files that are 3 to 4 times larger. Do you want to have to remember to switch recording methods between slow motion and normal speeds? For most productions I very much doubt that the end viewer would ever be able to tell the difference between material shot using XAVC-I class 300 and ProResHQ. And that audience certainly isn’t going to feel they are watching a substandard image, and that’s what counts. 

There is so much emphasis placed on using “better” codecs that I think some people are starting to believe that XAVC-I is unusable or going to limit what they can do. This isn’t the case. It is a pretty good codec and frankly if you can’t get a great looking image when using XAVC then a better codec is unlikely to change that.

New LUT – Chess

Here’s a new LUT for you, inspired by a the look of the Netfix show “the Queen’s Gambit. I’ve called the LUT “Chess”. It’s designed for use with S-Log3 and SGamut3.cine and I think it works really well with most Sony S-Log3 capable cameras including the FX6, FX9, FS7, FS5, F5 and F55 etc. As well as Sony’s video cameras it will also work with the A7SIII and other Sony Alpha cameras.

In the download you will find 2 LUTs. The 65x version is for post production and grading, the 33x version is for use as a camera LUT.  While I have aimed to replicate much of the look of the TV series it must be noted that grading is only a small part of the look. Set design, the colour of the sets and costume also play a significant roll.

s709-look-new_1.1.12-1024x576 New LUT - Chess
S-Log3 to s709 Standard look.
Chess-Look-new_1.1.11-1024x576 New LUT - Chess
S-Log3 to Chess Look LUT
s709-look-2_1.2.2-1024x576 New LUT - Chess
S-Log3 to s709
new-chess-look2_1.2.1-1024x576 New LUT - Chess
S-Log3 ro Chess look LUT

If you find this LUT useful please consider buying me a cocktail or other beverage. Thank you! It does take a while to develop these LUT’s and contributions are a good incentive for me to create more!


 

Your choice:


Click Here to Download the Chess LUT

 

You can use this LUT as a camera LUT or for grading. If you are using the Sony FX6 you can use this LUT in Custom Mode as a Base Look. For more information on how to do that please watch the video below.

 

Catalyst BRowse and catalyst Prepare Updated.

Timed to coincide with the release of the ILME-FX6 camcorder Sony have updated both Catalyst Browse and Catalyst Prepare. These new  and long awaited versions add support for the FX6’s rotation metadata and clip flag metadata as well as numerous bug fixes. It should be noted that for the correct operation that a GPU that supports OpenGL is required. Also while the new versions support MacOS Catalina there is no official support for Big Sur. Catalyst Browse is free while Catalyst Prepare is not free. Prepare can perform more complex batch processing of files, checksum and file verification, per-clip adjustments as well as other additional features.

For more information go to the Sony Creative Software website.

Hypergamma LUT’s for the FX6 (and others).

The Sony FX6 does not have the same Hypergammas or Cinegammas as found in many other Sony camcorders. However you can load a LUT as a base look in the cameras Custom Mode. See this post for details about this.

So I have prepared a set of LUTs that mimic the Sony Hypergammas with rec709 colour.  These LUTs are for S-Log3/SGamut3.cine as used as the base input in the FX6. HG1 and HG2 are broadcast safe so these give you a broadcast ready option for the FX6.
 In addition to the Hypergamma LUT’s there is an additional ACBCST LUT. This is a broadcast safe version of the Sony s709 LUT with added contrast and saturation, suitable for broadcast and other direct to air applications.

As well as the FX6 these LUT’s will also work with any Sony camera that accepts LUTs and has S-Log3 and SGamut3.cine. They can also be used in post production.

If you find these LUT’s useful please consider buying me a coffee. Thank you!


 

Your choice:



pixel Hypergamma LUT's for the FX6 (and others).

CLICK HERE TO DOWNLOAD THE Hypergamma LUTs

Sony FX6 Launch

Sony will launch a new small 4K handheld camcorder – the FX6 on Tuesday the 17th of November.

Sony_FX6_side_44062_02-Mid-1024x994 Sony FX6 Launch
Sony FX6 4K Camcorder

To find out more about this new and very exciting camcorder you can watch the launch event via Instagram. After the launch event I am hosting a Q and A on Instagram. I’ve been lucky enough to have shot with the camera and have extensively tested it, so tune in to the Q&A to learn more. There is a lot to like and I am certain this camcorder will prove to be extremely popular. The Instagram session will be here: https://www.instagram.com/sonyprofilmmaking/

Then on Wednesday the 18th I will be presenting a webinar on the FX6 for Visual Impact in the UK at 11.00 GMT: https://www.visuals.co.uk/events/events.php?event=eid1748059180-892

 

 

 

Then once the initial launch dust settles I will bring you more information about this exciting new camera including tutorials and guides.

DIY Assignable Button Labels.

DSC_0191-3-1024x768 DIY Assignable Button Labels.
DIY labels for the assignable buttons on my FX9.

Maybe it’s just because I’m getting old,  but I do like to have a label to remind me of what I have assigned to the assignable buttons on my cameras. 

There are lot’s of ways you can make a label from a post-it-note to camera tape. But I recently got a new label printer from Dymo and with the right tape it will print white text on clear tape.  The printers are around $40 so they are not too expensive. If you’re anything like me once you get one you will find yourself labelling everything, so a worthwhile investment. 

DSC_0192-3-768x1024 DIY Assignable Button Labels.
Dymo labels for the assignable buttons on my PXW-FX9


For the labels on my FX9 I used the smallest “8” point text size and you will need to trim the labels down with a sharp pair of scissors. They need to be very small to fit in the gaps between the buttons. I found a pair of tweezers really helps to hold the label while you cut it and peel of the backing. Then you can use the tweezers to place your swanky new label exactly where you want it.

I think they look pretty good and are worth the effort. The printer I used is a Dymo Label Manager 160 and the tape is a Office Depot white on clear 12mm plastic tape. There are lots of colour choices if you don’t want clear tape. Looking at the pictures of the camera I now realise I should have taken a bit more time to get the labels straight! Fortunately you can peel them off without leaving any nasty residue or damaging the paint.

DSC_0198-3-1024x768 DIY Assignable Button Labels.
The dymo printer I used to knock up the labels.

Sony Introduces Cinema Line and teases the PXW-FX6

FX6_side_44062_02-Mid Sony Introduces Cinema Line and teases the PXW-FX6
Sony are teasing the PXW-FX6.

So there is no IBC show this year and instead Sony are doing various online sessions with the latest news as well as guides to some of the most recent products and firmware. 

Today’s news is of new branding for Sony most recent digital cinema cameras, Vence and the PXW-FX9. These cameras are now members of what Sony are calling “Cinema Line” and in addition there are pictures of a smaller camera not surprisingly called the FX6 that looks like – well – what you would expect an FS5 replacement to look like. 

In the past Sony’s digital cinematography cameras were denoted by their “Cinealta” badges. But to some extent this became somewhat confused as all sorts of cameras like the Sony EX1 and Venice were classed as Cinealta. So what exactly is the new Cinema Line?

To quote from the Sony Press Release:

“At Sony, we celebrate and have the deepest respect for filmmakers, cinematographers, and storytellers. With Cinema Line, we’re tapping into our DNA from both the film industry and digital imaging prosumer market and combining it to develop new creative tools. This line of products will enable creators to push their creative boundaries further and capture the emotion in each and every frame.” says Claus Pfeifer, Head of Connected Content Acquisition, Media Solutions, Sony Professional Europe.

So, I’m not really sure! My guess is it’s a set of products, not just cameras  aimed at what we now tend to call Cinematography rather than broadcast television or industrial video applications. Of course there is a huge amount of cross-over between all these different genres these days, so I’m sure the Cinema Line products will be used all over the place.

My main hope from this is a more unified look from any cameras in the Cinema Line. My big hope is that the FX6 will have S-Cinetone and that when you shoot S-Log3 with the FX6 that it will look like the S-log3 from the FX9 or Venice. This will make grading and post production easier where you mix and match cameras.

What about the FX6?

I don’t have any more solid information than you right now. We can expect it to be Full Frame, to shoot 10 bit 4:2:2 4K using S-Log3 and to probably have a raw output. As the FS5 is based on the A7S hardware with an F5 sensor it wouldn’t surprise me if the FX6 was based on the A7SIII hardware with the FX9 sensor perhaps. So it might have 4K at 120fps. From the pictures it appears to only have 2 channels of audio and the cover for the card slots (there must be 2 as there is a slot select switch) doesn’t look big enough for two XQD or CF Express Type B, so I would guess that like the A7SIII it’s SD cards or perhaps CF Express Type A.  Another thing I notice in the pictures is a lack of an AF/MF focus switch and in particular no menu navigation controls, so I will guess the LCD is a touch screen and it will rely on this for a lot of function control and menu navigation. But this is just speculation, so don’t hold me to any of it!!!

Don’t Upgrade FCP-X or OSX!

UPDATE 29th Sept 2020.
The issues have now been resolved so it is now safe to update.


27th Aug 2020
If you are a mac user and especially of you use it to edit footage from a Sony camera I recommend that you do not upgrade the operating system to OSX 10.15.6, Pro Video Codecs to 2.1.2 or upgrade FCP-X to version 10.4.9 at this time.

At the moment there is clearly an issue with footage from the FX9 after these updates. It is not clear whether this is due to the new Pro Video Codecs package 2.1.2  that is comes as part of the update to OSX 10.15.6 or whether it is just related to the FCP-X 10.4.9 update. Some users are reporting that some FX9 MXF files can not be previewed in Finder after updating as well as not being visible in FCP-X.

While so far it I have only seen reports that footage from the FX9 is affected, but it wouldn’t surprise me if Venice material is also affected.

I would suggest waiting for a few weeks after the release of any update before updating and never do an update half way through an important project.

UPDATE: Sony know about the issue and are working with Apple to resolve it. It only seems to affect some FX9 footage and possibly some Venice footage. It appears as the culprit is the Pro Video Codecs update, but this is yet to be confirmed. I would still suggest waiting before upgrading  even if you are using a different camera.

Don’t Panic! The A7S III didn’t just make your big pro camera obsolete.

Screenshot-2020-07-31-at-10.07.40 Don't Panic! The A7S III didn't just make your big pro camera obsolete.
Sony’s new A7S III video centric mirrorless camera.

So Sony have just launched the A7S III. And very impressive it is. Amazing low light performance, great dynamic range and lots of nice 10 bit codecs. You can even get a 16 bit raw output if you want. I can’t wait to get one. But I really don’t see the A7S III as a threat to or replacement of my FX9 or any other 4K professional video camera.

All the same discussions took place when the original A7S was launched. Sony F5 owners looked at the A7S and said – heck how can that little camera shoot full frame 4K while my camera can’t even shoot s35 4K. Why can the A7S have AF when my F3/F5 doesn’t. How can a camera that produces such beautiful images only cost 1/5th of what my F5 costs. But here we are 6 years on and the A7S and A7S II didn’t replace any of the bigger cameras and when the FS5 was launched people snapped up the FS5, often to replace an A7.

Why? Ergonomics.
 
I don’t ever want to go back to having to carry and use a big box of different ND filters for different light levels. I find the small LCD screen on the back of a DSLR to be of very limited use and while the A7S III does have a very good EVF it’s placement makes it hard to use it on a tripod or in anything other than a simple hand hold with the camera up against your face.
If you want to shoot log then you really want built in LUTs. There are the battery and power questions. How do you power the camera and accessories without needing two or more power systems or a rig to take a big external battery and a bunch of adapters? Then there’s having buttons and switches for all the frequently accessed functions. I could go on but you only have to look at the many franken-rigs that end up built around DSLR type cameras just to make them usable to see the problems. Almost always the first purchase to go with a DSLR is a cage. Why do you need a cage? Because you know your going to have to bolt a ton of stuff to that once small, portable camera to turn it into a professional video making tool.

 

Sure, I will almost certainly get an A7S III and it will be a great camera to compliment my FX9. And yes, there may even be some projects where I only take the A7S III, just as there have been shoots where I have used just my A7S. But it won’t ever replace my FX9, they are two very different tools, each with its own strengths and weaknesses.

 

The image quality gap between traditional large professional video cameras and handheld stills type cameras will continue to get smaller and smaller as electronics continue to be further miniaturised, that is inevitable, but the cameras form factor will still be important.
 
The small cars of today often have all the same bells and whistles as a large luxury car of 10 years ago. Let’s say you’ve gone on vacation (remember those?) and it’s a road trip. You get to the car rental office and you have a choice between a large, spacious, stable, less stressed car or a small car that has to work a bit harder to get you to the same place. Both will get you there, but which do you choose? There might be some instances where the small car is preferrable, perhaps you will be in a lot of narrow city streets a lot. But for most road trips I suspect most people will opt for the big comfy cruiser most of the time.

For me the A7S III will be that nippy little car, a camera that I can pop in a pocket to grab beautiful images where I can’t use a bigger camera. But for my main workhorse I don’t want fiddly, I don’t want a ton of accessories hanging off it just to make it workable. I want the luxury cruiser that will just take it all in it’s stride and get on with the job and right now that’s my FX9.

ProResRaw Now In Adobe Creative Cloud Mac Versions!

Hooray! Finally ProRes Raw is supported in both the Mac and Windows versions of Adobe Creative Cloud. I’ve been waiting a long time for this. While the FCP workflow is solid and works, I’m still not the biggest fan of FCP-X. I’ve been a Premiere user for decades although recently I have switched almost 100% to DaVinci Resolve. What I would really like to see is ProRes Raw in Resolve, but I’m guessing that while Black Magic continue to push Black Magic Raw that will perhaps not come. You will need to update your apps to the latest versions to gain the ProRes Raw functionality.