No, it hasn’t been released yet. And it’s now not expected to arrive before the end of November. But it will be worth the wait.
We already knew about some of the new features but there is much more to this release than first announced. Let’s take a look:
Touch to focus, focus tracking: Yes, you heard it right. You will be able to use the touch sensitive LCD to touch on an object in the shot and then the camera will track that object as it moves around the shot. A box will appear around the touched object and you will be able to monitor what the AF is focussing on by looking at what the tracking box is over. This is a feature available on the A7S3 and FX3 that is VERY useful.
Anamorphic De-Squeeze. It will become much easier to shoot anamorphic with the FX9. When shooting Anamorphic the image produced by the lens is squeezed horizontally, and that’s what you record. But to monitor it correctly you then need to de-squeeze it by squashing it vertically by the correct amount. The V3 firmware update will allow the image to be squashed vertically (de-squeezed) for the LCD viewfinder so you can view with the included VF in the correct widescreen aspect ratio. Do note however that the SDI and HDMI outputs will NOT be de-squeezed, so to monitor externally you will need a monitor with de-squeeze, but most of them have this these days.
Super 16 Scan Modes: The camera will gain a 2K center scan mode that can be used to shoot at up to 180fps in full HD. Using the center scan mode for slow motion above 60fps will eliminate the aliasing issues currently seen when using the 2K FF or 2K S35 scan modes. Additionally you will be able to use Sony’s 2/3″ B4 lens adapter. When using the B4 adapter the camera will support ALAC which corrects for chromatic aberrations in lenses that support this feature.
Switch Scan Modes via Assignable Button: This has been something on everyone’s wish lists for years. Now at last you will be able to set up an assignable button to switch scan modes.
Add Camera ID and Reel Numbers to Clip Names: You will be able to use clip names that are prefixed by a camera ID number and a reel number similar to the clip naming system on the FS7.
Modify the Status Page List: This function allows you to remove pages from the status page menu. So you will be able to remove the pages you rarely use.
DC IN Alarm: Don’t get too excited just yet, but in V3 you will be able to set a low voltage alarm for the cameras DC input as well as the extension units DC input. This does NOT mean that there will be a low voltage warning with the current 3rd party V-Lock battery adapters as these convert the battery voltage to a fixed 19.5v supply that never changes. But it does mean that a clever manufacturer could now design a V-Lock adapter that could reduce it’s output voltage when the voltage of the V-Lock battery gets low allowing you to have an alarm in the camera before the battery cuts off.
Proxy Upload while recording: Currently you cannot upload proxies while recording. This will be improved in V3 and the camera will be able to upload proxies in the background while you are recording.
Zero Focus Distance function: When working with a lens that shows the focus distance on the LCD screen you will be able to focus on an object and then “zero” the focus distance. Then as you change the focus distance the the screen will display a +/- value that is how far from zero the focus is. You will be able to use this for a pull focus. Focus on the end object and set the focus distance to zero. Now focus on the start object. To pull focus turn the focus ring so you are back at zero again. Not actually sure how useful this will be, but hey – it isn’t costing us anything.
Change Network Settings via Mobile Phone App: You will be able to use a mobile phone to change the cameras network settings making it easier to enter addresses and passwords of FTP servers etc.
USB Phone tethering: you will be able to connect a couple of mobile phones to the camera via USB to use it them as modems for internet streaming (I believe this is via the USB ports on the top of the XDCA-FX9).
LCD Gamma Adjustments for SR Live: SR live is a type of HDR workflow developed for live productions that will be broadcast in both standard dynamic range and high dynamic range. This setting allows you to change the gamma of the LCD screen between SDR and HDR range when shooting using HLG in the HDR mode. This allows you to preview either what a viewer will see watching in SDR or a good approximation of what a viewer viewing in HDR will see.
S700 Remote Control: The camera will be able to be controlled remotely using s700 protocols (via ethernet).
Sony have just released firmware version 1.10 for the ILME-FX6. This firmware update adds the ability to output raw at 100p and 120p to a suitable external raw recorder. The only raw recorder that can record the 100 and 120fps raw is the Atomos Ninja V+ which will be available very soon. This is a welcome update for the FX6 and it also includes some “stability fixes” so I recommend that all users update their cameras.
I’ve found the most reliable way to update the camera is to download the SD Card/CFExpress card version and place the Bodydata.dat file on an SD card. This is listed on the Sony site as “ILME-FX6 Update Guide(SD Card/CFexpress card. Put the SD card in the BOTTOM of the cameras 2 SD card slots (slot B) and then start the update from the Maintenance, Version, Version Up setting in the cameras full menu. You should insert a fully charged battery and also connect mains power when doing the update.
The Atomos Ninja V+ is an upgraded version of the Ninja V. It’s the same size and shape but has much more internal processing power. The extra processing allows it to record 4K 120fps raw or 8K 30p raw (it will be interesting to know which cameras are going to be outputting 8K raw). I really like the Ninja V, it’s small, compact and packed with useful features for not a lot of money. To record the raw from the FX6 do remember that you have to add the AtomX SDI module.
A few days ago Sony quietly released a new important firmware update for the PXW-FX9. Firmware version 2.10 adds the long awaited 4K 120fps raw function to the FX9 (you do still need the XDCA-FX9) but also importantly includes some change the the daylight white balance settings.
From my before and after testing it appears that a change has been made to the daylight white balance preset settings. For some time it has been apparent that if you used the white balance presets in the daylight range (4000K and higher) that the FX9 has a tendency to accentuate any green in the image. If you white balance of a white card this tendency is not there.
The new preset white balance settings now provide a much more neutral white balance with less green bias. This should also help those that were suffering from green fringing in extreme contrast shots as the reduced green bias will stop the camera from accentuating chromatic aberration as it did before. It won’t eliminate the chromatic aberration, but it won’t be nearly as obvious.
The first image was taken before doing the firmware update using a preset of 5500K. This test was done in a bit of a hurry as it was threatening to rain, but I wanted to use real daylight.
The second image, below, was taken after the firmware update (unfortunately the focus shifted slightly between the two shots, sorry). But you can clearly see that even though the white balance settings are the same and the same 5500K preset used this image is less green.
It is a subtle difference, but if you look at the wood panels you can see a difference. To help you see the difference here is a wipe between the before and after clips with the saturation boosted to make it more obvious.
As you can see this isn’t an “in your face” difference. But it is still none the less an important improvement as it makes it easier to match the FX9 to the FX6 and FX3 if you are using a preset white balance. I would still recommend white balancing off a white card for all cameras wherever possible as this will still normally provide the best results as it helps neutralise any lens or calibration differences. Whether you are shooting using S-Cinetone as in the examples here or using S-Log3, the new white balance preset provides in my opinion a much better colour response.
HOWEVER it’s important to consider that it will make cameras with version 2.10 and later look different to FX9’s with earlier firmware versions.
The firmware update can be downloaded via the link below. It took around 35 minutes for my FX9 to complete the update. The process is easy but when the camera gets to 80% complete it will appear that the update has stalled. It stays at 80% for around 10-15 minutes with no indication that the update is still continuing. So don’t turn the camera off thinking it’s stuck!!! Be patient and give it time to complete.
Sony today release an update covering many things. But of particular interest to FX9 and FX6 owners was news that both the FX6 and FX9 will get firmware updates to add 120fps raw. For the FX9 you will still need the XDCA-FX9 and to be honest this has always been promised, but it’s good to see it hasn’t been forgotten about. This update should be out next month.
In addition the FX9 will gain the ability to shoot Anamorphic in the version 3 firmware update which will be released later in the year. There will be both 1.3x and 2x anamorphic desqueeze as well as the addition cinemascope frame lines. This is on top of the previously announced 2K super 16mm sized center scan mode with support for B4 ENG lenses and s700PTP control over TCP/IP.
Sony have released a minor but important firmware update for the ILME-FX6 camcorder. This update fixes the back-to-front EI values that are used during clip playback in the CineEI mode.
There are a couple of different ways to do the update. The update can be applied to the camera either by placing an update file on an SDXC card or CFExpress Type A card and updating via the camera. Or by downloading updater software for a Mac or PC and connecting the camera to the computer via USB and using the computer to update the camera. If you are a Mac user I have found this method to sometimes be challenging to make work, but easy with a Windows PC.
My preference is to download the SD/CFExpress update file and to put the update file on an SD card and update via the camera as this method has always proven to be easy and reliable for me in the past.
Sony have today released version 4 firmware for the Z280 and Z190. This is a nice update for these cameras as it adds the ability to stream directly to platforms such as YouTube or Facebook using the RTMP or RTMPS protocol. There is no longer any need to go via an intermediate convertor such as OBS.
In addition the looks used in th HDR modes are adjusted to bring them into line with the latest cameras with HLG Natural and HDR Live.
Last night I attended the official opening of Sony’s new Digital Media Production center in LA. This is a very nice facility where Sony can show end users how to get the most from full end to end digital production, from camera to display. And a most impressive display it is as the facility has a huge permanent 26ft HDR C-Led equipped cinema.
One of the key announcements made at the event was details of what will be the 5th major firmware update for the Venice cameras. Due January 2020 version 5 will extend the cameras high frame rate capabilities as well as adding or improving on a number of existing options:
· HFR Capabilities – Up to 90fps at 6K 2.39:1 and 72fps at 6K 17:9.
· Apple ProRes 4444 – Record HD videos in the high picture quality on SxS PRO+ cards, without Sony’s AXS-R7 recorder. This is especially effective for HD VFX workflow.
· 180 Degree RotationMonitor Out– Flip and flop images via viewfinder and SDI.
· High Resolution Magnificationvia HD Monitor Out – Existing advanced viewfinder technology for clearer magnification is now extended to HD Monitor Out.
· Improved User Marker Settings – Menu updates for easier selection of frame lines on viewfinder.
90fps in 6K means that a full 3x slow down will be possible for 6K 24fps projects. In addition to the above Sony now have a new IDT for Venice for ACES. so now VENICE has officially joined The F65, F55 and F55 in earning the ACES logo, meeting the specifications laid out in the ACES Product Partner Logo Program. I will post more details of this and how to get hold of the IDT over the weekend.
Coming just a few days after the release of the Venice version 3 firmware, Sony have just released details of the next major Venice update which is planned to be released in June of this year. Last year when Sony started talking about HFR (high frame rates) for Venice it was expected that 4K would reach at least 96fps. However it has now been confirmed that the version 4 update will include the option to purchase an HFR licence that will allow you to shoot in 4K at up to 120fps.
It is worth noting however that 120fps will only be available when shooting 2.39:1. When shooting 17:9 the limit will be 110fps, still better than the originally promised 96fps. As well as 4K HFR you will also be able to shoot at 60fps in 6K 3:2 and 75fps 4K 3:2 ideal for use with 2x Anamorphic lenses.
The full press release is below:
Basingstoke, UK, 31st January 2019: Sony will be upgrading the capabilities of its next-generation motion picture camera system, VENICE, by introducing High Frame Rate (HFR) shooting, advanced remote-control functionalities and Cooke/i3 and Zeiss extended metadata support, as part of its latest firmware update. Following the recent release of VENICE’s firmware Version 3.0 and the upcoming launch of its Extension System (CBK-3610XS), which was developed in collaboration with James Cameron’s Lightstorm Entertainment and is currently being used to shoot the AVATAR sequels, the latest upgrade will offer filmmakers even greater creative freedom, flexibility and choice.
The new optional High Frame Rate license allows VENICE to shoot at speeds of up to 120fps at 4K 2.39:1, and 60fps at 6K 3:2 as well as up to 110fps at 4K 17:9 and 75fps at 4K 4:3 with anamorphic lenses. The new additional frame rates are particularly well-suited for drama, movie and commercial productions in 4K and 6K, as well as productions at 50/60p in 6K and VR productions using large viewing angle of 6K 3:2 in 60p. All High Frame Rates support X-OCN recording including X-OCN XT* implemented from Ver.3.0 and High Frame Rate up to 60fps support XAVC 4K and ProRes recording.
“At Sony, we pride ourselves on working closely with our customers and partners to create solutions that enable modern filmmakers to bring their vision to reality just the way they intend to. In fact, High Frame Rate shooting was a feature that was frequently requested by our customers. We listened to their feedback and are excited to now offer this feature to all new and existing VENICE users,” explained Sebastian Leske, Product Marketing Manager, Cinematography, Sony Professional Solutions Europe. “Last year at Cine Gear Expo, we announced that Version 4.0 will include 120fps in 2K. However, we are excited to announce today that, as a result of the hard work of our engineering team, Version 4.0 will now include 120fps in 4K. With firmware Version 4.0, our state-of-the-art VENICE will become even more powerful, fortifying its position as the go-to solution for cinematographers who want to create stunning imagery and capture emotion in every frame.”
Additionally, Version 4.0 of the VENICE firmware will introduce:
· 700 Protocol – A control protocol developed by Sony to connect VENICE to a remote-control unit (RM-B750 or RM-B170) and a RCP-1500 series remote control panel, giving filmmakers greater flexibility in bringing their visions to life. Further expanding on the camera’s existing remote-control capabilities, the VENICE now offers paint control, iris control, recording start/stop, clip control, and more. The upgraded remote-control function also adds new workflows to extend VENICE’s use in multi-camera and live production settings, such as live concerts and fashion shows.
· Support for Cooke’s /i third generation metadata Technology, /i3 and ZEISS eXtended Data technology (based on Cooke /i Technology) – Extended lens metadata can now be embedded straight into a RAW/X-OCN/XAVC file and HD-SDI output without the need for additional metadata equipment. The new function allows distortion and shading caused by supported lenses to be easily rectified, significantly reducing post-production costs.
Further features include an extended Mask+Line setting in the Frame line set-up, selectable functions for the assignable buttons of the DVF-EL200 viewfinder and pure Progressive HD-SDI output in 25p and 29p.
Both the free upgrade to firmware Version 4.0 and the optional HFR licence will be available in June 2019.
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.
Sony have just released a firmware update for the PXW-FS7 and PXW-FS7 II cameras. This is a minor update with only one new feature being added which is the ability to alter the recorded ISO when shooting in the Cine-EI mode.
When the camera is set to CineEI, this new function is turned on and off in the menu under System – Base Settings – Rec/Out EI Applied.
What does it do?
When shooting normally using Cine EI, assuming that no LUT is applied to SDI1/Rec the camera always records at it’s base sensitivity (2000 ISO exposure rating) with no added gain. This is done to ensure that the cameras full dynamic range is always available and that the full recording range of either S-Log2 or S-Log3 is always available.
Then the EI system is used to apply a LUT just to the viewfinder or SDI 2 for monitoring. The gain of the LUT can then be changed to provide a brighter or darker viewfinder/monitor image. For example setting the EI to 1000 EI would make the viewfinder image darker than the base setting of 2000EI by 1 stop.
Because you are viewing this darker image you would then open the cameras aperture by 1 stop to compensate. Opening the aperture up results in a brighter recording. A brighter recording, achieved by putting more light onto the sensor will have less noise than a darker exposure, so the end result is brighter recorded images with less noise.
This process is often referred to as “rating” the camera and it is in many cases preferable to “rate” the FS7 around a stop slower (Viewfinder is darker, less sensitive, so that means you end up opening up the aperture) than the base 2000 ISO rating to gain a cleaner image that typically gives much greater flexibility in post production. So many users will set the EI on an FS7 to 1000 or 800 (It’s no co-incidence that I find get the sweet spot to be 800EI which happens to match the rating that Sony give the FS7 when shooting Rec-709).
Because in the normal EI mode there is no change to the cameras actual recording gain (the recordings take place at the equivalent of 2000 ISO) there is no change to the dynamic range. The camera will always capture 14 stops no matter what you set the EI to. However if you open the aperture by an extra stop (selecting 1000 EI, which results in a 1 stop darker viewfinder image, so to compensate you open up 1 stop) you move the mid point of the exposure up 1 stop. This means you will reduce the over exposure headroom by 1 stop but at the same time you gain one stop of under exposure range. You will see 1 stop further into the shadows, plus there will be less noise, so the shadow range becomes much more useable.
Conventional EI mode and Post Production.
In post production these brightly exposed images will need some degree of adjustment. If you are doing a virgin grade from scratch then you don’t really need to do anything extra or different, you will just grade it to taste.
If you are using a LUT you will need to either use an exposure compensated LUT (I always provide these in any of my free LUT sets) or you will need to correct the exposure before applying the LUT. If you apply a standard LUT and then try to correct the exposure the results will often not be satisfactory as the LUT determines many things such as where any highlight roll-off occurs. Correcting after this can result in washed out of flat looking skin tones. So really you need to make the exposure correction to the material before it is passed to the LUT.
No loss of dynamic range with conventional EI.
It’s worth noting that even though the levels are reduced to “normal” levels when applying an exposure compensated LUT or through grading this should not reduce the dynamic range. You do not just shift the range down (which would hard clip the blacks and cause a loss of DR at the low end). What you are typically doing is reducing the gain to bring the levels down and this allows the information in the new extended shadow range to be retained, so nothing is lost and your footage will still have 14 stops of DR along with nice clean shadows and mid tones.
Is this all too difficult?
However, some people find that the need to correct the exposure prior to adding the LUT difficult or time consuming (I don’t know why, they just do. It takes no longer to add a compensated LUT than a normal LUT). Or some people find it difficult to get a good looking image from brightly exposed footage (probably because they are grading after the LUT has been applied). For these reasons Sony have added the ability to bake the EI change directly into the recording by shifting the gain of the recordings to match the selected EI.
Rec/Out EI Applied:
So now if you enable Rec/Out EI Applied any change you make to the cameras EI settings will now also be applied as a gain change to the recordings. If you set the EI to 1000, then the recordings will take place at 1000 ISO and not 2000 ISO. This means that you do not have to make any exposure corrections in post production, just apply a standard LUT.
You will loose some of your dynamic range:
The down side to this is that you are now changing the gain of the camera. Changing the gain away from 0dB will reduce the dynamic range and affect the recording range. So, for example if you wish to shoot at 1000 EI have Rec/Out EI Applied you will be recording with -6dB gain and an effective ISO of 1000. You will have 1 stop less of shadow range as the cameras effective sensitivity is being reduced by 1 stop but the sensors clip/overload point remains the same. So when you open the aperture to compensate for the lower sensitivity you will have the same shadow range as base, but loose one stop off the top. The images will have less noise, but there will be no additional shadow information and a reduction in highlight range by 1 stop, the DR will be 13 stops.
Another side effect of this is that the peak recording level is also reduced. This is because the cameras clipping point is determined by the sensor. This sensor clip point is normally mapped to the peak recording level and the cameras noise floor is mapped to the black level (you can’t see things that are darker than the sensors noise floor no matter what level of gain you use as the noise will always be higher than the object brightness).
If you reduce the gain of the signal this level must decrease as a result. This means that S-Log3 which normally gets to around ~94% will now only reach ~85%, the change to S-Log2 is even greater (S-Log3’s peak recording level will reduce by 8.9% for every stop down you go, S-Log2 will reduce by 12% for each stop you go down ).
Raising the EI/ISO will also reduce the dynamic range as the gain is applied after the sensor. So the sensors clip point remains the same, so the brightest highlight it handles remains fixed. Adding gain after this simply means the recordings will clip earlier, but you will get a brighter mid range, brighter (but not more) shadows and a noisier picture.
What happens in post with Rec/Out EI Applied?
In post production these range and peak level changes mean that while a standard LUT will result in a correct looking mid range (because middle grey and skin tones will be at “normal” levels) there may be some problems with highlights never reaching 100% in the case of a low EI/ISO. Or being excessively clipped in the case of a high EI/ISO. Remember LUT’s are designed to work over very specific ranges. So if the input to the LUT doesn’t reach the peak level the LUT is expecting then the output from the LUT will also be reduced. So often there will still be the need to do some additional grading of highlights prior to the application of the LUT, or the need to use LUT’s designed specifically for each ISO rating (and the design of these LUT’s is more complex than a simple exposure offset).
Is it really easier?
So while this new feature will simplify the workflow for some situations where an alternate ISO/EI has been used – because exposure correction in post production won’t be needed. It may actually make things more difficult if you have bright highlights or need to be sure that your finished video meets expected standards where highlights are at 100%. You will still need to do some grading.
I don’t recommend that you use it.
Personally I do not recommend that you use this new feature. There are plenty of exposure compensated LUT’s available online (I have lots here). Tweaking the exposure of log footage in post production isn’t that difficult, especially if you use a color managed workflow. My guess is that this is aimed at FCP-X users where FCP-X applies a default LUT as standard. In this instance footage shoot with an offset exposure will look over/under exposed while footage shoot with the EI/ISO Applied will look normal (except for the highlights). So on the face of things the workflow may appear simpler. But you are loosing dynamic range and surely the primary reason for shooting with log is to maximise the dynamic range and gain the greatest possible post production flexibility. This new feature reduces dynamic range and as a result reduces post production flexibility.
Of course just because I don’t recommend it’s use, it doesn’t mean that you can’t or shouldn’t use it if it works for you, just make sure you fully understand what it is doing.
Camera setup, reviews, tutorials and information for pro camcorder users from Alister Chapman.