Tag Archives: firmware

PXW-FX9

FX9 Version 3 Firmware Released.

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Sony have today release the version 3 update for the FX9. This is a significant upgrade for the FX9 and I highly recommend all users update their cameras.

The update process is robust and provided you follow the instructions in the PDF guide that is included in the update download package you should not have any problems.



EDIT: I WILL SAY THIS AGAIN – YOU MUST FOLLOW THE INSTRUCTIONS INCLUDED IN THE DOWNLOAD PACKAGE. DO NOT SKIP ANY OF THE STEPS IN THE INSTRUCTIONS. I’m seeing lots of people with failed updates because they are formatting their SD cards on their computer or not turning off the cameras network functions. It’s all in the instructions, the instructions are there to help you, please follow them to the letter. The “root” of a card is the very, very bottom of the cards file structure. It is NOT a folder, anything on the “root” of  a card will not be inside a folder of any sort, the root is the bit of the card where the first folders will be, in the case of an SD card formatted in the FX9 the root is where you will find  the “PRIVATE” folder. The “root” is NOT the XDROOT folder.  And if something does go wrong the instructions tell you how to recover.


Do be aware that when you start the update process the  cameras LCD screen will go blank for around 10 minutes and the only clue that all is good will be a flashing red tally light. Just leave the camera alone, go and do something else and come back an hour later. The upgrade will also appear to stall at around the 80% mark. Again, just be patient and wait for the update complete message before turning off the camera.

There are a lot of new features in version 3 but the three that I think most are going to like the most are the Real-Time tracking AF (aka touch tracking), the Anamorphic monitoring modes and the Super 16mm 2K scan mode.

REAL TIME TRACKING AF

The Real Time tracking allows you to use the viewfinders  touch screen to touch where you want the camera to focus. A white box will appear where you touch and then the camera will track the touched object while it stays with the frame. To cancel the touch tracking touch on the grey cancel box that appears in the top left of the viewfinder.


touched-book_1.1.3-600x338 FX9 Version 3 Firmware Released.
In the image above the camera is in Face/Eye priority mode. As the real time tracking AF over-rides the other AF modes, by touching on the book on the book shelf (circled in red) the AF is now focussing on the book and will track the book if the camera pans or if the book were to move through the shot. If the book were to move out of the shot the AF will revert to Face/Eye AF.

When used in conjunction with the Face/Eye AF, if you touch on a face the AF will prioritise that face and track it. If the person is facing the camera and can be identified as an individual face, the face gets saved and a “*” will appear next to the Face AF symbol top left of the VF.

If the person turns away from the camera the focus will then track the persons head, if they turn back towards the camera it tracks their face again. It is even possible to start by touching on the back of a persons head and then as they turn towards the camera the face/eye AF takes over.

The way the camera “registers” faces is changed from previous firmware versions. As above, to save a face simply touch on a face. Touch a different face to save a different face. When a face has been saved a * will appear next the the Face/Eye AF symbol.

In the image below the face has been selected by touching on it and is now saved (note the * symbol circled in red). Not also the tracking symbol indicating that BOTH Face/Eye AF and Tracking are in use.
saved-face_1.1.2-600x338 FX9 Version 3 Firmware Released.

Whenever you stop the real time tracking the saved face is removed from the  camera.

If you are using Face/Eye ONLY AF then normally the camera will only focus on faces/eyes, but if you touch on an object that isn’t a face then  the camera will focus on this object. If you touch on a face then the camera will only focus on that particular face and the AF will halt if the camera can’t see that particular face until you stop the real time tracking AF.

As well as the tracking stop button (top left of the VF, look like a grey box) If you have AF assist enabled, turning the focus ring on the lens will stop the tracking AF. Real-time tracking AF will also stop when a touched object that is not a face leaves the frame or when a button assigned with the Push AF/Push MF function is pressed.

Real-time tracking can also be used when the cameras AF switch is set to MF.  If in the menu, under shooting settings, focus, the “Touch Function in MF” setting is set to ON, The real-time touch tracking auto focus will also work when the AF switch on the side of the camera is set to MF. This allows you to use an autofocus lens to focus manually but then instantly switch to real time tracking AF simply by touching the LCD screen. For this to work if the lens has an AF/MF switch the switch on the lens must be set to AF. If using the 28-135mm lense the focus ring must be in the forwards position.

Real time tracking works across the entire frame regardless of the chosen AF frame area. Any objects being tracked must be distinct from the background. Textured, coloured or detailed objects are tracked more easily than plain objects. When using Face/Eye AF not all faces can be saved. To successfully save a face it needs to be facing the camera directly and sufficiently distinct that the camera can identify the eyes, nose and mouth.

ANAMORPHIC MODE

The anamorphic mode is a basic anamorphic monitoring mode for the LCD viewfinder. It has no effect on the recorded files or the SDI/HDMI outputs.
Anamorphic1_1.1.1-600x338 FX9 Version 3 Firmware Released.

It provides a 1.3x or 2x de-squeeze. The 2x desqueeze function is tailored for 2x anamorphic lenses designed to be used with 35mm film. To use these lenses the camera must be set to 6K Full Frame scan to gain the correct sensor height. This means that when you use a 2x 35mm film anamorphic lens the sensor scan is wider than it really needs to be so there will be some vignetting at the sides of the frame. The 2x de-squeeze function takes this into account and not only de-squeezes the image but also crops the sides to emulate how the footage will look after post production.

anamorphic2_1.1-copy-600x338 FX9 Version 3 Firmware Released.

If you are using 1.3x lenses then you can use either the Full Frame 6K scan, the FF 5k crop or the S35 4K scan modes, but for 2x anamorphic lenses you will need to use FF 6K scan.

S16 2K Crop.

The S16 2K crop mode allows you to use just the center Super 16mm sized 2K scan area. This mode is actually very useful for shooting at high frame rates above 60fps because unlike the FF 2K or S35 2K scan modes, this mode is using every single pixel within the scan area. As a result there are none of the image artefacts common when shooting at high frame rates using FF 2K or S35 2K.  The 2.5x crop (compared to FF) does mean that for wide shots you will need a very wide lens. But where you can use it, this mode is great for better quality slow motion.

s16-hfr_1.1.4-600x338 FX9 Version 3 Firmware Released.

The other use for this scan mode is with Super 16mm lenses or with B4 2/3″ ENG lenses via suitable adapters. The image quality in this mode on the FX9 is a little better than the similar mode on the FS7. But you do need to remember that this is a 2K scan, so you will have a little under HD resolution. In addition the cameras noise appears worse in this mode because you are enlarging fewer pixels to fill the screen, so the noise isn’t as fine or refined as in FF 6K or S35 4K. So where possible you want to make sure you use a nice bright exposure for the best results.

The images below were shot with the same 16x ENG zoom lens at its widest and longest focal lengths.

s16-wide_1.1.2-600x338 FX9 Version 3 Firmware Released.S16-zoom_1.1.2-600x338 FX9 Version 3 Firmware Released.

Here is the full list of new features:

  • S700 Protocol over Ethernet
  • B4 lens support
    – S16 scanning mode (up to FHD 180fps)
    – B4 lens control using with LA-EB1
    – ALAC (Auto Lens Aberration Correction) function
  • Assignable Center Scan
  • Anamorphic lens support
  • Clip Naming (Cam ID + Reel#)
  • Real-time Tracking (touch tracking auto focus)
  • Additional items can be modified in the Status Screen
  • SR Live for HDR metadata support
  • Recording Proxy Clip Real-time Transfer
  • Camcorder Network Setup using Smartphone App
  • Remote control using smartphone over USB tethering
  • USB tethering activated using iOS14 iPhone and iPad

*Network feature above also support C3 Portal (only available in specific countries)



You will find the version 3 download files here:  https://pro.sony/en_GB/support-resources/pxw-fx9/software

PXW-FX9

PXW-FX9 Version 3 Firmware Update Latest News

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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).

FX6

FX6 Firmware Update Adds 120fps Raw.

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Screenshot-2021-05-21-at-09.37.54-1024x160 FX6 Firmware Update Adds 120fps Raw.

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.

You will find the various firmware updaters here: https://www.sony.com/electronics/support/camcorders-and-video-cameras-interchangeable-lens-camcorders/ilme-fx6v/downloads 

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.

PXW-FX9

Important Firmware Update For The FX9

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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.

 

Before-preset5500k_1.1.1-1024x576 Important Firmware Update For The FX9
PXW-FX9, 5500K preset WB, before the firmware update

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.

 

After-preset5500k_1.2.1-1024x576 Important Firmware Update For The FX9
PXW-FX9, 5500K preset after updating to firmware V2.10

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.

 

Wipe between before and after the firmware update with saturation boosted.

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.

https://pro.sony/en_GB/support-resources/pxw-fx9/software/

FX6, PXW-FX9

FX9 to get Anamorphic In Firmware Version 3.

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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.

You will find the full announcement here: https://sonycine.com/articles/firmware-updates-announced-for-fx9-and-fx6-cinema-cameras/

FX6

Firmware Update For The FX6 (V1.01). Fixes CineEI Playback ISO levels

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FX6-Firmware-500x500 Firmware Update For The FX6 (V1.01). Fixes CineEI Playback ISO levelsSony 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.

The firmware can be downloaded from here: https://www.sony.com/electronics/support/interchangeable-lens-camcorders-ilme-series/ilme-fx6v/downloads

PXW

PXW-Z280 and Z190 Firmware Version 4 Adds RTMP Streaming.

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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.

You can download the firmware for the Z280 from here: https://pro.sony/en_FI/support-resources/pxw-z280/software/00257137

And you can download the Z190 firmware from here:
https://pro.sony/en_FI/support-resources/pxw-z190/software/00257141

cinematography, Venice

Venice to get even higher frame rates in V5 firmware.

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VENICE-copy Venice to get even higher frame rates in V5 firmware.

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 Rotation Monitor Out– Flip and flop images via viewfinder and SDI.

·       High Resolution Magnification via 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.

cameras, Everything Else, Venice

Sony Venice to get 4K 120fps in Version 4.

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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.

To learn more about VENICE, please join Sony at BSC Expo 2019 in Battersea Evolution, Battersea, London at stand 545 or visit pro.sony/en_GB/products/digital-cinema-cameras/venice.

*Excluding 6K 3:2 50p/60p

A7, PXW, PXW-FS5

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

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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.