Category Archives: PXW

PXW, Scene Files and Luts

Picture Profile Settings For The PXW-Z280

5 Comments

Sony’s new PXW-Z280 is a great compact camcorder. Having now spent even more time with one I have been looking at how to best optimise it.

It should be remembered that this is a 4K camcorder. So Sony are packing a lot of pixels onto the 3 sensors. As a result the camera does exhibit a little bit of noise at 0dB gain. No camera is noise free and we have become spoilt by the large sensor super 35mm cameras with big sensors, big pixels and very low noise levels.

Use -3dB Gain to reduce noise.

So I did a little bit of work with various settings in the camera to see if I could minimise the noise. The first thing was to test the camera at -3dB gain. On many cameras using negative gain will reduce the cameras dynamic range due to a reduction in the highlight recording range. But on the Z280 using -3dB of gain does not seem to adversely effect the dynamic range, but it does significantly reduce the noise. I found the noise reduction to be much larger than I would normally expect from a -3dB gain reduction. So my advice is – where possible use -3dB gain. The Z280 is pretty sensitive anyway, especially in HD so -3dB (which is only half a stop) is not going to cause problems for most shoots.

I fell that the cameras standard detail corrections result in some over sharpening of the image. This is particularly noticeable in HD where there is some ringing (over correction that gives a black or white overshoot) on high contrast edges. Dialling back the detail levels just a little helps produce a more natural looking image. It will appear a touch less “sharp” but in my opinion the images look a bit more natural, less processed and noise is very slightly reduced. Below are my suggested detail settings:

Z280 Detail Settings For HD.

Detail -12, Crispening -15, Frequency +18 lower.

Z280 Detail Settings For UHD(QFHD).

Detail -5, Crispening -11, Frequency +16

White Clip and Knee.

In the SDR mode the Z280 has a range of standard Rec-709 type gammas as well as Hypergammas 1 – 4. Like many modern digital camcorders, by default, all the SDR gammas except HG1 and HG2 record at up to 109%. This might cause problems for those going direct to air for broadcast TV. For direct to air applications you may need to consider changing the white clip setting. The default is 109% but for direct to air broadcast you should change this to 100%.

If working with the STD5 gamma (Rec-709) and a 100% clip point you will also want to modify the knee settings. You can either use the default auto knee or turn the auto knee off and change the knee point to 87 and slope to +25 to bring the highlights down to fit better with a 100% clip point. HG1 and HG2 are broadcast safe gammas, so these are another option for direct to air.

Hypergamma.

As well as Rec-709 gamma the camera has Sony’s Hypergammas. If using the Hypergammas it should be noted that the optimum exposure will result in a slightly darker image than you would have with normal 709. As a guide you should have skin tones around 60% and a white card would be around 75% for the best results. Exposing skin tones at 70% or brighter can result in flat looking faces with reduced texture and detail, so watch your skin tones when shooting with the Hypergammas.

The Z280 has four Hypergammas.

HG1 3250G36. This takes a brightness range the equivalent to 325% and compresses it down to 100% (clips at 100%). Middle grey would be exposed at 36% (G36). This gives a nice reasonably contrasty image with bright mid range and a moderate extension of the highlight range.

HG2 4600G30. Takes a brightness range of 460% and compresses down to 100% (clips at 100%). Middle grey is exposed at 30% (G30). This has a darker mid range than HG1 but further extends the highlights. Generally HG1 works better for less challenging scenes or darker scenes while HG2 works for high contrast, bright scenes. Both HG1 and HG2 are broadcast safe.

HG3 3259G40. This takes a brightness range the equivalent to 325% and compresses it down to 109% (clips at 109%). Middle grey would be exposed at 409% (G40). This gives a nice contrasty image with reasonably bright mid range and a moderate extension of the highlight range.

HG4 4609G33. Takes a brightness range of 460% and compresses down to 109% (clips at 109%). Middle grey is exposed at 33% (G33). This has a darker mid range than HG3 but further extends the highlights. Generally HG3 works better for less challenging scenes or darker scenes while HG4 works for high contrast, bright scenes.

Color and The Matrix.

If you don’t like the standard Sony colors and want warmer skin tones do try using the SMPTE-240M color matrix. You will find skin tones a bit warmer with more red than the 709 matrix.

To change the saturation (amount of color) you need to turn on the User Matrix and then you can use the User Matrix Level control to increase or decrease the saturation.

Many people find the standard Sony look to be a little on the yellow side. So I have come up with some settings for the user matrix that reduces the yellow and warms the image just a touch.

AC NATURAL COLOR SETTINGS:

Matrix: ON. Adaptive Matrix: Off. Preset Matrix: ON. Preset Select: ITU-709. User Matrix: ON. Level: 0. Phase: 0.

R-G: +10. R-B: +8. G-R: -15. G-B: -9. B-R: -5. B-G: -15.

So here are some suggested Z280 Picture Profile settings for different looks:

Note that these picture profile are similar to some of my FS7 profiles, so they will help match the two cameras in a multi-camera shoot. Use each of the setting below with either the HD or UHD(QFHD) detail settings given above if you wish to reduce the sharpening.

AC-Neutral-HG3.

Designed as a pleasing general purpose look for medium to high contrast scenes. Provides a neutral look with slightly less yellow than the standard Sony settings. I recommend setting zebras to 60% for skin tones or exposing a white card at 72-78% for the best results.

Black: Master Black: -3.  Gamma: HG3 .  White Clip: OFF. 

Matrix: ON. Adaptive Matrix: Off. Preset Matrix: ON. Preset Select: ITU-709. User Matrix: ON. User Matrix Level: 0. Phase: 0.

R-G: +10. R-B: +8. G-R: -15. G-B: -9. B-R: -5. B-G: -15.

AC-Neutral-HG4.

Designed as a pleasing general purpose look for high contrast scenes. Provides a neutral look with slightly less yellow than the standard Sony settings. I recommend setting zebras to 58% for skin tones or exposing a white card at 70-75% for the best results.

Black: Master Black: -3.  Gamma: HG3 .  White Clip: OFF. 

Matrix: ON. Adaptive Matrix: Off. Preset Matrix: ON. Preset Select: ITU-709. User Matrix: ON. User Matrix Level: 0. Phase: 0.

R-G: +10. R-B: +8. G-R: -15. G-B: -9. B-R: -5. B-G: -15.

AC-FILMLIKE1

A high dynamic range look with film like color. Will produce a slightly flat looking image. Colours are tuned to be more film like with a very slight warm tint. I recommend settings zebras to 57% for skin tones and recording white at 70-75% for the most “filmic” look.

Black: Master Black: -3.  Gamma: HG3 .  White Clip: OFF. 

Matrix: ON. Adaptive Matrix: Off. Preset Matrix: ON. Preset Select: SMPTE WIDE. User Matrix: ON. User Matrix Level: +5. Phase: 0.

R-G: +11. R-B: +8. G-R: -12. G-B: -9. B-R: -3. B-G: -12.

AC-VIBRANT-HG3

These setting increase dynamic range over the standard settings but also increase the colour and vibrance. Designed to be used for when a good dynamic range and strong colours are needed direct from the camera. Suggested zebra level for skin tones is 63% and white at approx 72-78%.

Black: Master Black: -3.  Gamma: HG3.  White Clip: OFF.

Matrix: ON. Adaptive Matrix: Off. Preset Matrix: ON. Preset Select: ITU-709. User Matrix: ON. User Matrix Level: +25. Phase: -5.

R-G: +12. R-B: +8. G-R: -11. G-B: -7. B-R: -5. B-G: -17.

AC-VIBRANT-HG4

These setting increase dynamic range over the standard settings but also increase the colour and vibrance. HG4 has greater dynamic range than HG3 but is less bright, so this variation is best for brighter high dynamic range scenes. Designed to be used for when a good dynamic range and strong colours are needed direct from the camera. Suggested zebra level for skin tones is 60% and white at approx 70-75%.

Black: Master Black: -3.  Gamma: HG4.  White Clip: OFF.

Matrix: ON. Adaptive Matrix: Off. Preset Matrix: ON. Preset Select: ITU-709. User Matrix: ON. User Matrix Level: +25. Phase: -5.

R-G: +12. R-B: +8. G-R: -11. G-B: -7. B-R: -5. B-G: -17.

AC-Punchy Pop Video.

A punchy, contrasty look with strong but neutral colors. Maybe useful for a music video, party or celebration.

Black: Master Black: -3.  Gamma: STD5 .  Auto Knee Off. Knee level 87. White Clip: OFF. 

Matrix: ON. Adaptive Matrix: Off. Preset Matrix: ON. Preset Select: ITU-709. User Matrix: ON. User Matrix Level: 20. Phase: 0.

R-G: +10. R-B: +8. G-R: -15. G-B: -9. B-R: -5. B-G: -15.

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PMW-F55, PXW, PXW-FS7, Workflow

Recovering footage from formatted cards.

5 Comments

Following a series of recent discussions about whether or not it was possible to recover files from XQD cards that have been formatted by mistake I have obtained some clarification from Sony of what can or can’t be done.

This information is specifically for XQD cards and the PXW-FS7 but probably applies to most Sony cameras and also SxS media. I’m not sure about SD cards.

Formatted In-Camera:

The bottom line is that if you format the card in the camera you will not be able to recover any previously shot material. An in-camera format completely erases everything on the card. This is done to ensure that material shot on the cards cannot be recovered by another production company in the case of card or camera rentals. So there is no point in attempting any form of data recovery on a card formatted in the camera as there is nothing recoverable left on the card.

Formatted by a computer:

When you format a card with a computer it is possible that the material will still be on the card. However different operating systems handle the formatting of the cards differently, so there is no guarantee that the data will be recoverable and often it won’t be recoverable. For very important material it may be worth attempting to recover the card. Sony may be able to assist with this in some cases.

Deleted Clips:

Clips deleted from a card can typically be recovered provided they have not be recorded over by a later recording. Again Sony may be able to assist with this.

Delete or Format?

Based on this new information from Sony I may be adjusting my workflow. My own workflow has always been to off-load material from a card. Then to do a parity check to compare the original files on the card and what is now on the hard drives. This checks not just the file size but also the general structure of the files so should pick up most problems with any copies. My last check is then to skim through the files with Catalyst Browse or my edit application to make sure the clips are there and playable. Only then do I format a card. In light of this new information I may use my computer to delete the clips from a card rather than format it. Of course this will only ever offer some benefit if the card is not recorded on again causing the previous files to be over written, but it might add an extra chance of data recovery should the backups get lost or some other disaster occur. From time to time I would format the cards in camera as this helps keep the cards in the best possible condition.

A7, cameras, cinematography, PMW-F55, PXW, PXW-FS5, PXW-FS7, Workflow

Do the images from my Sony camera have to look the way they do?

7 Comments

— And why do Sony cameras look the way they do?

It all about the color science.

“Color Science” is one of those currently in fashion phrases that gets thrown around all over the place today. First of all – what the heck is color science anyway? Simply put it’s how the camera sees the colors in a scene, mixes them together, records them – and then how your editing or grading software interprets what is in the recording and finally how the TV or other display device turns the digital values it receives back into a color image. It’s a combination of optical filters such as the low pass filter, color filters, sensor properties, how the sensor is read out and how the signals are electronically processed both in the camera, by your edit/grading system and by the display device. It is no one single thing, and it’s important to understand that your edit process also contributes to the overall color science.

Color Science is something we have been doing since the very first color cameras, it’s not anything new. However us end users now have a much greater ability to modify that color science thanks to better post production tools and in camera adjustments such as picture profiles or scene files.

Recently, Sony cameras have sometimes been seen by some as having less advanced or poor color science compared to cameras from some other manufacturers. Is this really the case? For Sony part of the color science issue is that historically Sony have deliberately designed their newest cameras to match previous generations of cameras so that a large organisation with multiple cameras can use new cameras without having them look radically different to their old ones. It has always been like this and all the manufacturers do this, Panasonic cameras have a certain look as do Canon etc. New and old Panasonics tend to look the same as do old and new Canon’s, but the Canon’s look different to the Panasonics which look different to the Sony’s.

Sony have a very long heritage in broadcast TV and that’s how their cameras look out of the box, like Rec-709 TV cameras with colors that are similar to the tube cameras they were producing 20 years ago. Sony’s broadcast color science is really very accurate – point one at a test chart such as a Chroma DuMonde and you’ll see highly repeatable, consistent and accurate color reproduction with all the vectors on a vector scope falling exactly where they should, including the skin tone line.

On the one hand this is great if you are that big multi-camera business wanting to add new cameras to old ones without problems, where you want your latest ENG or self-shooters cameras to have the same colors as your perhaps older studio cameras so that any video inserts into a studio show cut in and out smoothly with a consistent look.

But on the other hand it’s not so good if you are a one man band shooter that wants something that looks different. Plus accurate is not always “pretty” and you can’t get away from the fact that the pictures look like Rec-709 television pictures in a new world of digital cinematography where TV is perhaps seen as bad and the holy grail is now a very different kind of look that is more stylised and much less true to life.

So Sony have been a bit stuck. The standard look you get when you apply any of the standard off-the shelf S-Log3 or S-Log2 LUT’s will by design be based on the Sony color science of old, so you get the Sony look. Most edit and grading applications are using transforms for S-Log2/3 based on Sony’s old standard Rec-709 look to maintain this consistency of look. This isn’t a mistake. It’s by design, it’s a Sony camera so it’s supposed to look like other Sony cameras, not different.

But for many this isn’t what they want. They want a camera that looks different, perhaps the “film look” – whatever that is?

Recently we have seen two new cameras from Sony that out of the box look very different from all the others. Sony’s high end Venice camera and the lower cost FS5 MKII. The FS5 MKII in particular proves that it’s possible to have a very different look with Sony’s existing colour filters and sensors. The FS5 MK II has exactly the same sensor with exactly the same electronics as the MK I. The only difference is in the way the RGB data from the sensor is being processed and mixed together (determined by the different firmware in the Mk1 and mk2) to create the final output.

The sensors Sony manufacture and use are very good at capturing color. Sony sensors are found in cameras from many different manufacturers. The recording systems in the Sony cameras do a fine job of recording those colors as data within the files the camera records as data with different code values representing what the sensor saw. Take that data into almost any half decent grading software and you can change the way it looks by modifying the data values. In post production I can turn almost any color I want into any other color. It’s really up to us as to how we translate the code values in the files into the colors we see on the screen, especially when recording using Log or raw. A 3D LUT can change tones and hues very easily by shifting and modifying the code values. So really there is no reason why you have to have the Sony 709 look.

My Venice emulation LUT’s will make S-Log3 from an FS5 or FS7 look quite different to the old Sony Broadcast look. I also have LUT’s for Sony cameras that emulate different Fuji and Kodak film stocks, apply one of these and it really looks nothing like a Sony broadcast camera. Another alternative is to use a color managed workflow such as ACES which will attempt to make just about every camera on the market look the same applying the ACES film style look and highlight roll-off.

We have seen it time and time again where Sony footage has been graded well and it then becomes all but impossible to identify what camera shot it. If you have Netflix take a look at “The Crown” shot on Sony’s F55 (which has the same default Sony look as the FS5 MK1, FS7 etc). Most people find it hard to believe the Crown was shot with a Sony because it has not even the slightest hint of the old Sony broadcast look.

If you use default settings, standard LUT’s etc it will look like a Sony, it’s supposed to! But you have the freedom to choose from a vast range of alternative looks or better still create your own looks and styles with your own grading choices.

But for many this can prove tricky as often they will start with a standard Sony LUT or standard Sony transform. So the image they start with has the old Sony look. When you start to grade or adjust this it can sometimes look wrong because you have perhaps become used to the original Sony image and then anything else just doesn’t seem right, because it’s not what you are used to. In addition if you add a LUT and then grade, elements of the LUT’s look may be hard to remove, things like the highlight roll off will be hard baked into the material, so you need to do need to think carefully about how you use LUT’s. So try to break away from standard LUT’s. Try ACES or try some other starting point for your grade.

Going forward I think it is likely that we will see the new Venice look become standard across all of the Cinema style cameras from Sony, but it will take time for this to trickle down into all the grading and editing software that currently uses transforms for s-Log2/3 that are based on the old Sony Rec-709 broadcast look. But if you grade your footage for yourself you can create just about any look you want.

cameras, PXW, Review

Out and about with the PXW-Z280.

5 Comments

DSC_0037-1024x576 Out and about with the PXW-Z280.
Sony’s 4K PXW-Z280 handycam.

I have recently returned from a trip around Canada. While I was there I spent some more time shooting with Sony’s new PXW-Z280 handycam camcorder. This neat little camera continues to surprise me. I used a pre-production sample to shoot parts of an airshow in the summer and it worked really well. It was so easy to use, I had forgotten how much quicker it is to work with a camera with a 17x zoom lens compared to a large sensor camera with a very limited zoom range or prime lenses.

The Z280 uses 3x state of the art EMOR Stacked multi layer sensors. Each is full 4K, so you have full RGB 4K, unlike a single chip camera where the chroma resolution is much reduced by the bayer layout of the pixels. The 3 chip, full resolution design also means no aliasing in the color channels as is often typical of single chip designs.

The color splitting prism is more efficient than the absorption color filters on a single chip design, so more light gets to the pixels. The multi layer sensors have very good on-sensor processing so even though the pixels are rather small you get good sensitivity, low noise and good DR. The Z280 is approx  650-700 ISO with the base gammas so very close to an FS7 with it’s standard gammas and the colors match an FS7  extremely well. The picture look really nice.

DSC_0046-1024x576 Out and about with the PXW-Z280.
3x 4K sensors, 17x zoom and variable ND filter is a great combination on the PXW-Z280

From the testing I have done in the cameras dedicated HDR mode, where you can choose between HLG and S-Log3, with S-Log3 the DR of the Z280 appears to be around 13 stops, which is really quite remarkable for this type of camcorder. The sensor readout is very fast so rolling shutter is minimal.

When you factor in the Z280’s f1.9 lens, compared to an FS7 with the Sony F4 zoom or many other zooms that are typically around F4 the Z280 with it’s f1.9 lens does better in low light and offers similar DoF when both are wide open. Of course you can change the lens on an FS7 and use a faster lens, but then you won’t have anywhere near the zoom range of the Z280.
 

Like any small compact camera, it isn’t 100% perfect. Overall the lens is pretty good for a low cost 4K zoom, but like many 17x zooms it does have a touch of barrel distortion when fully wide. As well as the LCD It has an excellent OLED viewfinder that is much, much better than those typically found on Sony’s smaller cameras. It has Timecode in/out and genlock, all the XAVC-I and L codecs as well as MpegHD. There is a full suite of wifi, LAN and network functions for streaming, ftp and remote control as well as the ability to offload files from the cards to a USB drive or memory stick without a computer. It’s a modern camera designed for the modern news or documentary shooter and a big step up in terms of image quality from the PXW-X200 IMHO.

A full review and sample video will be coming in the very near future with lot’s more information.

A7, PMW-F55, PXW, PXW-FS5, PXW-FS7

New Venice Look LUT’s Version 3. Includes minus green LUTs. For FS5, FS7, F55, A7S, A7R.

19 Comments

I released my first version of the Venice Look LUT’s a few weeks ago and they have been a big hit. Overall most people seem to like them and get some great results. I’ve seen quite a few good looking videos produced using them.

I have received some feedback though that some people feel that the LUT’s may be crushing the blacks a bit too much for them, personally I think the deep shadows gives quite a film like look. However in response to that feedback I created an additional LUT set that keeps the blacks slightly higher. This can make grading a little easier, especially in FCP-X. You will find these new version 3 LUT’s here in the packages below – but please read on…..

While I was at it I also created another set of LUTs with a minus green offset. The idea behind these was that they can be used for material shot under lights with a green tint such as many LED or fluorescent light fixtures. Playing with these “-G1” LUT’s I have decided that I really like the slightly warmer and even less “Sony” look that these versions of the LUT’s give when shooting under “normal” lighting. So do please give them a try for a warmer look for skin tones both with LED/Fluorescent lighting and also with full spectrum lighting such as tungsten and sunlight.

Taking that a step further I have also included an even stronger minus green offset in a further -G2 set of LUT’s. So between the 3 sets of LUT’s offered in this download you should be able to find a set for most types of lighting with a variety of skin tone renditions.

Included in the LUT sets are LUTs for grading (with exposure offsets), LUT’s for Small HD monitors and the Zacuto Gratical. The grading LUT’s can also be used in other monitors and devices such as the Atomos recorder/monitors.

As always (to date at least) I offer these as a free download available by clicking on the links below. However a lot of work goes into creating and hosting these. I feel that this LUT set is worth $25.00 and would really appreciate that being paid if you find the LUT’s useful. But I will let you pay what you feel is fair, all contributions are greatly appreciated and it really does help keep this website up and running. If you can’t afford to pay, then just download the LUT’s and enjoy using them. If in the future you should choose to use them on a paying project, please remember where you got them and come back and make a contribution. More contributions means more LUT offerings in the future. I’m currently working on a couple of different film stock emulations based combined with the Venice look highlight rendition.

Please feel free to share a link to this page if you wish to share these LUT’s with anyone else or anywhere else.

To make a contribution please use the drop down menu here, there are several contribution levels to choose from.


Your choice:



pixel New Venice Look LUT's Version 3. Includes minus green LUTs. For FS5, FS7, F55, A7S, A7R.

There are two different LUT sets. One set is for S-Log3 and S-Gamut3.cine. The other set is for S-Log2 and SGamut. Please only download what you need to save my bandwidth!

Typically if you are shooting with 8 bit, for example with an FS5 in UHD or an A7S, A7R etc, then I recommend you use S-Log2 with SGamut. For most other cameras that have 10 bit recording then I recommend S-Log3 and SGamut3.cine.

Here are the links to my Venice Look Version 3 LUT’s. Including the minus green offset LUTs. Make sure you choose the right version and once you have downloaded them please read the README file included within the package.

Alister V-Look V3 LUT’s S-Log2/SGamut

Alister V-Look V3 LUT’s S-Log3/SGamut3.cine

I got a request for a set of Rec-709 Venice Look LUT’s – So here they are. I’m not expecting miracles from these, you will be starting with a much reduced dynamic range by shooting with Rec-709, but try them if you wish. I make no promises as to how well they will or will not work!

Alister Venice Look for Rec709

 

 

A7, PXW, PXW-FS5

Mac Driver For Sony Alpha and PXW-FS5 firmware updates. USB Firmware driver for High Sierra.

2 Comments

If like me you use a Mac computer and are using the High Sierra OS then if you want to upgrade your camera you will need this supplemental driver from Sony:

https://support.d-imaging.sony.co.jp/mac/driver/1013/en/index.html

This is for any Sony camera that is upgraded via a direct USB connection between the computer and the camera, so that includes cameras like the A7s, A7r, A6300 and the rest of the Sony Alpha series. It is also for many of the PXW video cameras including the PXW-FS5. You don’t need it for cameras like the PMW-F55 or PXW-FS7 where the update is done by placing the upgrade file on an SD card.

Without this driver the upgrade software will install and all appears to be working OK. Except you can’t get a good USB connection between the camera and the mac computer and the upgrade will fail.

A7, PMW-F55, PXW, PXW-FS5, PXW-FS7, Scene Files and Luts, Venice

Venice Look LUT’s For 14 stop cameras A7, FS5, FS7, F5, F55 etc.

50 Comments

Hello all. So after numerous problems for some people trying to download the official Sony s709 LUT for Venice, I decided to create my own Venice Look LUT’s. These LUT’s have been created using image matching techniques plus some small tweaks and adjustments to make the LUT’s work well with the 14 stop cameras.

Venice is a 15 stop camera with a new sensor and as a result the official s709 LUT’s are not quite right for the current 14 stop cameras like the FS5, PMW-F55, FS7 and even the A7 series. So the LUT that I have created is slightly different to allow for this.

The end result is a LUT that gets you really close to the way Venice looks. It won’t magically turn your FS5 into a Venice, there is something very, very nice about the way Venice handles the extremes of it’s dynamic range, plus Venice has Sony’s best colour filters (similar to the F55 and F65). So Venice will always be that one very nice step up. But these LUT’s should get you close to the default Venice 709 look. This LUT should NOT be used with Venice as it this LUT is restricted to 14 stops.

Of course do remember that the default look and indeed the official s709 LUT was designed as a first pass look. An instant viewing output for a DIT or for on set viewing. It is not really meant to be the final finished look. It would be normal to grade the Venice material, perhaps from scratch rather than using the s709 LUT for the final output. But, s709 is what comes out of the cameras SDI connectors if you use the default LUT/Look. This is what this LUT set mimics, with some tweaks for the lower cost cameras.

This is one of the largest and most comprehensive LUT sets I have ever created. There are versions designed specifically for grading in Resolve or other grading suites. The bulk of the LUT’s are designed to be used with S-Log3 and SGamut3.cine. There are monitoring versions with offsets for use in monitors such as the Atomos range. I have created a set with offsets for both the Zacuto and Small HD viewfinders and monitors and finally I have also created sets of LUT’s for use with S-Log2 so users of the original A7s or those that wish to shoot with S-Log2 on an 8 bit camera are not left out.

The LUT’s work best with the PMW-F55 as this has the closest native color to the Venice camera, but I think they work really well on the rest of the Sony range.

If you find the LUT’S useful, please consider buying me a beer or a coffee using the “Buy Now” button below. There are different drink options depending on what you feel is fair, it takes time to prepare these and there are costs associated with hosting the files. I’m not paid to run this website and every little bit helps and is greatly appreciated.

If you don’t wish to buy me a coffee, that’s cool. But please don’t host the files elsewhere. Feel free to link back here and share the link, but please don’t distribute these anywhere else.

Here’s the link to the zip file containing the my Venice Look LUT set:

Click Here to download Alister’s Venice Look LUTs V2

If you are new to XDCAM-USER.COM please take a look around at the various tutorials, guides, tips and tricks that are hosted here. Click on the green search button at the top right to open a search window or follow the links in the drop down menus at the top of the page. Thanks for visiting!

PMW-F55, PXW, PXW-FS5, PXW-FS7, Venice

Sony Venice LUT.

28 Comments

Sony’s new Rec-709 style LUT for the Venice camera is now available. This Lut was designed to work with the Venice camera to provide a new film like look with beautiful highlight roll-off.  In it’s current form it only works with S-Log3/S-Gamut3.cine material, although you could use the excellent LUTCalc app to create different versions.

Although designed for Venice the LUT works really well with footage from the FS5, FS7, F5 and F55 etc.

You can download the base LUT from here until the end of July. https://dmpce.cimediacloud.com/mediaboxes/8374a677e6224da2a170bd841f64302d

A7, PMW-F55, PXW, PXW-FS5, PXW-FS7

Why is the white balance limited to 3 presets when using S-Log2, S-Log3 or raw?

3 Comments

This seems to be a source of frustration for many people shooting  raw or using S-Log2 or S-Log3 on a Sony camera. When shooting log and raw you should also be using a matching S-Gamut colour gamut if you want to get the best from the camera and this ties you into one of 3 preset white balances.

With a PXW-FS7, PMW-F5 or F55 it is possible to use custom mode to select a different colour space to mix with S-Log2 or S-Log3 and then have a variable white balance. With the Alpha cameras, PXW cameras such as the FS5 you can choose any Gamut you want in the picture profiles, but I don’t recommend this. For a start, if you don’t use one of the S-Gamuts you will be limited to Rec-709 Gamut, so you won’t be recording  the cameras full colour range. Also in custom mode there are some other things like noise reduction that you really don’t want when shooting S-log2/3 (it can cause banding).

So why is the S-Gamut white balance fixed to the 3 presets for daylight, fluorescent and tungsten? The main reason is to ensure you get the cameras full dynamic range in each colour. White balance is a gain function, it adjusts the gain of the red, green and blue channels so that white objects appear white under differing light sources. So if the light source lacks blue light – making the pictures look excessively warm – you add extra gain to the blue channel to compensate.

But the problem with this is that gain affects dynamic range. When shooting log (or raw) the camera needs to operate the sensor at the optimum gain level to squeeze the highest possible dynamic range from the it. Changing the gain in just one colour channel to shift the white balance could result in a reduction of dynamic range in the channel. This could manifest itself as colours in one channel that clip sooner than the others. This can be really hard to deal with in post production and can show up as things like bright clouds with a colour cast that isn’t in the rest of the picture.

Another potential issue is that because of the way silicon sensors work the blue channel is almost always noisier than the red and green. So you want to keep the gain in the blue channel as low as possible to prevent the pictures getting too noisy. This is particularly important when shooting log as you won’t see your end result until after the images have been graded. So manually shifting the gain of the blue channel in camera to correct the white balance could lead to footage that ends up noisier than you would expect.

So – Sony chose to fix the white balance to 3 carefully tuned presets designed to avoid this situation and maximise the dynamic range. After all, when shooting log or raw it is expected that the footage will be graded anyway, so the white balance will normally be adjusted as part of the post production process.

There are some people that advocate adjusting the FS5’s white balance via the picture profile settings, personally I don’t recommend this or feel that it’s necessary. But yes, you can do this, but just keep a very close eye on your highlights and if you can use monitor with RGB parade to make sure you have equal recording levels for your whites without one colour channel clipping ahead of the others. Also apply a LUT in the monitor that is close to your desired output so that you can keep an eye on the noise levels.

In summary – the white balance is preset to ensure you don’t encounter problems later on. You should be able to fully adjust and fine tune your white balance in post production to a far greater degree than is possible in camera anyway, so don’t worry if the WB is a touch off when shooting.

The only exception to this is the new Sony Venice. Venice has enough dynamic range and enough internal processing power to allow you to make a wide range of white balance adjustments in camera. Hopefully we will see some of this flexibility trickle down to the next generations of lower cost Sony digital cinema cameras.

cameras, PXW, Review, Uncategorized

The Sony PXW-Z90 – a compact 4K camcorder with auto focus at it’s best!

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Normally when I travel up to arctic Norway for my annual Northern Lights expeditions I take a large sensor video camera. Last year it was the Sony FS5, which performed very well and gave me some great results. But this year I decided to down size and instead of taking a bulky camera I chose to take a pre-production sample of Sony’s diminutive new PXW-Z90 camcorder.

36B8104-683x1024 The Sony PXW-Z90 - a compact 4K camcorder with auto focus at it's best!
In Norway with the PXW-Z90.

On the outside the Z90 looks almost exactly the same as the older PXW-X70 camcorder. I’ve shot several videos with the X70 and it’s a great little camcorder that produces a very good image considering it’s small size. Being a new model I expected the Z90 to offer some small improvements over the X70, but what I didn’t expect was the very big improvements that the Z90 brings.

The Z90 is the first camcorder from Sony to incorporate a new design of sensor. It’s a 1″ type sensor, so like the X70, bigger than you used to find on small handycams, but not as big as the super 35mm sensor found in the FS5, FS7 etc. This is a nice size for this type of camera as it makes it possible to obtain a shallow depth of field by using the cameras built in ND filters (yes- it really does have ND filters built in) and a large aperture. Or if you need a deeper depth of field for easier focussing or run and gun then you can use a smaller aperture by switching out the ND filters. The maximum aperture of the zoom lens is f2.8 but it does stop down to f4 towards the telephoto end.

stacked-cmos The Sony PXW-Z90 - a compact 4K camcorder with auto focus at it's best!
Sony’s new stacked CMOS EMOR RS sensor

This new sensor uses a new construction method that allows it to have several layers of electronics immediately below the imager pixels. The “stacked” sensor can as a result incorporate more image processing and a large memory area right under the pixels. This means that the sensor can be read out much more quickly than is normal for this type of camera and as a result rolling shutter is hugely reduced (I didn’t notice any in any of my footage).

As well as a reduction in rolling shutter compared to other similar sensors, the ability to do more on chip image processing appears to bring other advantages as the noise levels from this camera are very low indeed.

Z90-Night-scooter-ride-1024x576 The Sony PXW-Z90 - a compact 4K camcorder with auto focus at it's best!
Frame grab from a night time snow scooter ride. Shot at +15dB gain the noise is still very minor. (click on the image to view a larger version.

The low noise levels mean that this camera performs surprisingly well in low light. Adding in +6dB  was not a problem if needed. Even with +15dB of gin the images hold together very well. Clearly the camera is doing a fair bit of electronic noise reduction at higher gain levels and there is a slight increase in image smear as a result. Plus in certain circumstances the noise levels do rise, especially if you have large dark areas amongst in an otherwise brighter scene. In my sample footage during the night time snow scooter ride, which was shot at +15dB gain, you don’t see and noise over the snow, but you can see some grainy noise over the dark jacket of the snow scooter driver (see the frame grab above).  The fact that you can push the camera up to +15dB and in most cases get a pretty good image is very nice.

Z90-HLG-frame-grab-1024x576 The Sony PXW-Z90 - a compact 4K camcorder with auto focus at it's best!
Frame grab form a PXW-Z90 – Hybrid Log Gamma. Click on the image to see a larger version.

On top of good sensitivity you also have great dynamic range, more than the X70 and enough to make direct HDR shooting and log shooting possible with this tiny hand held camcorder. It doesn’t quite have the dynamic range of an FS5 or FS7, but there is still plenty of range to help deal with challenging lighting situations.

As well as bringing a nice improvement in image quality over the X70 (which is pretty good already) the new sensor brings a vastly improved autofocus system. There are 273 focus detection points which are combined with faster readout, faster on sensor processing and the same AF processing technology as used in the flagship Sony A9 stills camera. This brings a really remarkable autofocus system to this camera. The AF system is a newly developed hybrid system that combines phase detection AF with new algorithms created specifically for video rather than stills photography. At last this is an autofocus system that really works for a video camera. It is intelligent and responsive. There is no hunting for focus, it just seems to get on with the job.

AJC03989-1024x683 The Sony PXW-Z90 - a compact 4K camcorder with auto focus at it's best!
Adjusting the AF response on the PXW-Z90.

Just about every aspect of the autofocus system can be customised in the camera menu. You can choose between using focus zones, the full image width or selectable focus spot areas. The cameras LCD screen is a touch screen so you tap the screen where you want to focus.

You can also tailor the AF’s response speed, you can adjust the size of the tracking range, using a wide range for occasions when you want the AF to follow an object through the shot, or use a narrow range to restrict the focus depth range.

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The PXW-Z90’s variable AF drive speed.

You can customise how quickly the AF will move from one object to another, from staying locked on to a faster more responsive setting.

In addition it has that wonderful Sony face detection system that allows you to choose one face out of a crowd of people using the thumb stick on the hand grip or the touch screen. Once selected the camera will stay locked to that face.

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Working with the PXW-X90 in Norway.

While I was up in Norway it was between -24c and -30c. In those temperatures you really don’t want to take your mittens off for more than a minute or so. Being able to rely on the cameras autofocus allowed me to keep my fingers warm. Not one shot out of all my rushes from the trip has incorrect focus. That is truly remarkable and made shooting with this camera a real pleasure. I’m not saying that you should always use autofocus. When possible I love to be able to pick and choose how I focus. But in many situations or for less experienced shooters this autofocus system will be a game changer.

For my test shoot in Norway I mostly used Picture Profile number 10 which gives an instant HDR workflow thanks to the use of Hybrid Log Gamma. Using HLG you can shoot as you would do with any other conventional camera. Then take the footage and play it back in HDR on an HDR TV without any grading or other post production work. I also shot at a couple of locations using S-Log2 to test how that worked (I was shooting in UHD and the camera is 8 bit in UHD. For 8 bit I prefer S-Log2 over S-Log3). The Z90 has 10 picture profiles that allow you to tailor how the image looks, including a crunchy DSLR type look. Some filmic looks using Sony’s cinegammas as well as profiles for shooting S-Log2, S-Log3 and Hybrid Log Gamma (HLG).

Z90-dog-sled-frame-grab-1024x576 The Sony PXW-Z90 - a compact 4K camcorder with auto focus at it's best!
Dog sledding in the arctic (frame grab). Shot in HDR using HLG on the PXW-Z90.

The Z90 has Sony’s XAVC-L codec. This high quality codec offers 10 bit 4:2:2 broadcast quality recordings in HD and 8 bit 4:2:0 recordings in UHD (3840 x 2160). The camera records to SDXC cards, so media costs are very low. There are two card slots and you can record to each slot singly, record to one card after the other or dual record on to both cards at the same time for redundancy and an instant back. You can even use each of the cameras two record buttons to control the records on each card independently should you wish.

36B7978-1024x576 The Sony PXW-Z90 - a compact 4K camcorder with auto focus at it's best!
The PXW-X90 is very small, so carrying it around on the snow scooters was easy.

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The rear of the hand grip of the PXW-Z90.

The Z90 is a small camcorder and like all small camcorders this doesn’t leave much room for large buttons and switches. The menu system and many of the cameras functions can be controlled via the touch screen LCD or the small joystick/thumb stick on the hand grip. Iris, shutter speed and gain each have a dedicated access button that selects the function.

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The Full Auto switch and ND filter control on the PXW-Z90.

Then you use the thumb stick to select the value you want, or you can set each item to Auto. In addition there is a switch to put the camera into full auto on the rear of the camera. Just below the full auto switch is the control switch for the ND filters.

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The Sony PXW-Z90 compact 4K camcorder.

The lens is a Zeiss 12x optical zoom with built in optical image stabilisation. It is controlled by a single ring around the barrel of the lens which can be switched between focus control or zoom control. In addition there is the usual zoom rocker on the handgrip as well as a small zoom switch on the top handle. In addition to the optical stabilisation the camera also has Sony’s electronic “super steadyshot” stabilisation that can be used in addition to the optical stabilisation. Another very handy function is “Clear Image Zoom”. This is a form of electronic zoom function that makes use of a database of textures and object types. When using clear image zoom the camera uses this database to apply just the right amount of image processing during the electronic zoom process. In most cases you can’t see any degradation of the image when using clear image zoom. I left it on for all of the Norway shoot as it turns the 12x zoom into a very handy 18x zoom.

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The wide end of the PXW-X90’s zoom range.

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The long end of the PXW-X90’s zoom lens.

 

 

 

 

 

 

 

 

 

 

 

 

 

After doing so much shooting on large sensor cameras with restricted zoom ranges getting back to a small camera with a big zoom range was fun. For future Norway trips I am very tempted to switch to a camera like the Z90.

AJC03972-1024x683 The Sony PXW-Z90 - a compact 4K camcorder with auto focus at it's best!
The right side of the PXW-Z90.

The Z90 body is almost exactly the same as the X70. The cameras top handle has 2x XLR connectors with the audio controls for the two channels on the opposite side of the handle.

AJC03978-1024x683 The Sony PXW-Z90 - a compact 4K camcorder with auto focus at it's best!
The audio controls of the PXW-Z90.

If you want to make the camera more compact the handle can be removed, but when you do this you will no longer have any XLR connectors. Instead you will have an MI shoe on the top of the camera body  that can be used to connect a Sony UWP-D radio mic or a n XLR adapter. There is also a stereo microphone built into the main body of the camera, so even with the hand grip removed there are plenty of audio options.

AJC03985-1024x683 The Sony PXW-Z90 - a compact 4K camcorder with auto focus at it's best!
The PXW-Z90’s flip out LCD screen.

The flip out LCD panel acts as the cameras main viewfinder. Opening and closing the LCD screen turns the camera on and off. It starts up and shuts down very quickly. The resolution of the LCD is similar to most other modern camera LCD’s. It’s adequate for this type of camera, but it isn’t the highest resolution screen in the world. To check focus you have a button on the top of the hand grip to activate the image magnification function and the camera has a coloured peaking system to help pick out what is, and what is not in focus.  I suspect that with this particular camera, many users will take advantage of the cameras excellent auto focus system and there is a lot of feedback to the user of how this is working including coloured boxes that indicate exactly what the camera is focussing on.

AJC03974-e1519143855419-683x1024 The Sony PXW-Z90 - a compact 4K camcorder with auto focus at it's best!
The rear of the Sony PXW-Z90.

As well as the side LCD panel there is also a small OLED electronic viewfinder on the rear of the camera. This is very useful for use in very bright sunlight, but it is rather small.

The cameras gain, shutter and iris functions each have a dedicated button on the side of the camera. One push of the appropriate button enables that function to be controlled by a small dial wheel just under the front of the lens.

AJC03968-1024x683 The Sony PXW-Z90 - a compact 4K camcorder with auto focus at it's best!
Iris, gain and shutter speed controls on the side of the PXW-Z90.

Press the shutter button and the wheel controls the shutter. Press the gain button and the wheel controls the gain. Overall this system works well, but I would still prefer a separate gain switch and a shutter speed up/down switch. On the rear of the hand grip there is a small joystick that sits under your thumb. You can use this thumb-stick to set many of the cameras settings and to navigate through the cameras menu system.  In addition you can use the LCD touchscreen to navigate through the menu as well as select your autofocus points etc.

The PXW-Z90 is a small camera that packs a very big punch. It’s never going to give the fine degree of image control that you get with most large sensor cameras and it won’t quite deliver the same image quality either (although it’s really, really close). If you need a small, discrete camera, perhaps you travel a lot, or you just need a “B” camera, then the Z90 offers a  possible solution.  I haven’t even touched on all the streaming, ftp and wifi capabilities of this camera. The auto focus system is a delight to use and it’s the best AF system I’ve ever come across on a video camera. The new sensor in the Z90 is clearly a fairly large step forwards from the sensor in the previous similar model the X70, it has more dynamic range, a lot less rolling shutter (not that it’s a big problem on the X70) and the final images look better as a result. I might just have to add one to my camera collection.

 

If you would like to join me on one of my adventures to arctic Norway please see take a look at this page. I’ve been running these trips for 11 years and EVERY tour has seen the Northern Lights. This year was no exception and we got to see some really great Auroras and had a great time dog sledding, ice fishing and exploring the Finnmarksvidda.

A7-first-night1-1024x684 The Sony PXW-Z90 - a compact 4K camcorder with auto focus at it's best!
2018 was yet another great year for my Aurora tours. This picture taken on January 20th.