Tag Archives: PXW-FS5

Why I Choose To Shoot ProRes Raw with the FS5

This is a much discussed topic right now, so as I promised in my last article about this, I have put together a video. Unfortunately YouTube’s compression masks many of the differences between the UHD XAVC and the ProRes Raw, but you can still see them, especially on the waveform scopes.

To really appreciate the difference you should watch the video on a large screen at at high quality, preferably 4K.

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Replacement Mic Holder for the PXW-FS5 (and others).

Here’s another of my “I need one of these” products. The standard Sony mic mount isn’t the greatest thing in the world. It’s a little limited as to the range of microphones it can hold and over time they become floppy and loose. What I wanted was a lightweight, sturdy, simple to use mic mount that would fit easily on to the camera without taking up either of the shoe mounts. So I designed one for myself. A  few years ago I did a mic mount for the PMW-F5 and PMW-F55 that turned out to be be pretty popular and this mount shares some of that DNA.  It’s made out of plastic and uses either rubber bands or O-Rings to give really good vibration and handling isolation.

It mounts where the stock mount attaches using the two screws used to secure the original mount. There are two different mounting positions so you can adjust how far from the carry handle the microphone sits.

If you want one for yourself you can order one from my Shapeways store in a variety of colours. I also have a similar  generic mic mount that fits many of the Sony camcorder lineup.

To buy one check out my Shapeways store: https://www.shapeways.com/shops/alisterchapman

AJC05213-1024x683 Replacement Mic Holder for the PXW-FS5 (and others).
Microphone mount for the PXW-FS5
AJC05214-1024x683 Replacement Mic Holder for the PXW-FS5 (and others).
Replacement microphone mount for the PXW-FS5. Note the two sets of mounting holes so you can choose how far the mic is from the camera body.
AJC05212-1024x683 Replacement Mic Holder for the PXW-FS5 (and others).
Another view of my replacement mic mount for the PXW-FS5

PXW-FS5 Screen Protector updated images.

Here are some updated pictures of the screen protector for the FS5 that I sell via Shapeways. It’s not an exciting product, it’s just a clip on plastic cover that protects the LCD panel from damage when you are not using the camera. I travel a lot with my camera and the unprotected LCD screen is very vulnerable and could easily get scratched or worse still smashed. Arriving for a shoot and finding the FS5’s LCD screen smashed would be a disaster!

If you want one for yourself you can order them through my Shapeways store: https://www.shapeways.com/shops/alisterchapman

AJC05188 PXW-FS5 Screen Protector updated images.
PXW-FS5 screen protector front view.
AJC05190 PXW-FS5 Screen Protector updated images.
PXW-FS5 screen protection cover clipped on to the LCD screen.
AJC05192 PXW-FS5 Screen Protector updated images.
PXW-FS5 clip on screen saver attached to the LCD.

Using an FS5 to shoot in low light – what can I do?

The PXW-FS5 is a pretty good camera overall. Compared to cameras from 6 or 7 years ago it’s actually pretty sensitive. The exposure rating of 800 ISO for the standard rec-709 picture profile tells us that it is a little more than twice as sensitive as most old school shoulder cams. But it also suggests that it is only around half as sensitive as the king of low light, the Sony A7S. The A7S is so sensitive because it’s sensor is 1.5x bigger than the sensor in the FS5 and as a result the pixels in the A7S are almost twice the size, so are able to capture more light.

So what can you do if shooting in low light? 

The most important thing to do is to make the optical system as efficient as possible. You want to capture as much of the available light as you can and squeeze it down onto the FS5’s sensor. If you take a fast full frame lens and use it in conjunction with a Speed Booster type adapter you will end up with similar performance to using the same lens, without the speed booster on an A7S.

This is because the lens has a fixed light gathering capability. Use it on an A7S and all of the captured light is passed to all of those big pixels on the sensor. The light is split evenly across 4K’s worth of pixels.

Use it on an FS5 with a speedbooster and the same thing happens, all of the light is compressed down, which makes it brighter and all of this now brighter light falls on 4K’s worth of pixels. The smaller pixels are about half as sensitive, but now the light is twice as bright, so the end result is similar.

metabones_mb_spom_m43_bm3_speed_booster_ultra_0_71x_1259766-1024x1024 Using an FS5 to shoot in low light - what can I do?
A speedbooster adapter such as the Metabones makes a huge difference in low light. But you MUST use a full frame lens.

The biggest performance gains are to be had from using a very fast lens and then making sure all the light from the lens is used, none wasted. Anything slower than f2.8 will be a waste. If you are thinking of using the Sony f4 lens for very low light… well frankly you may as well not bother. The lens is THE most important factor in low light. When I go up to Norway to shoot the Aurora I use f1.4 and f1.8 lenses.

What about Picture Profiles?

The standard picture profile isn’t a bad choice for low light but you might want to look at using cinegamma 3. Although with a low light, low contrast scene none of the picture profiles will be significantly different from the others with the exception of PP2, PP7, PP8 or PP9. None of the profiles make the camera more sensitive, the sensitivity is governed by the sensor itself and all the profiles do is alter the way gain is distributed across the image.

PP2 will crush your shadows giving less to work with in post. The log curves in PP7,8,9 will roll off the darkest parts of the image, again giving you less in post. So I would probably avoid these.

For color I suggest using the Pro colour matrix. This works well for most situations and it will help limit the noise levels as it keeps the saturation fairly low keeping the noisy blue channel in check.

Gain or ISO?

I recommend you set the camera to gain rather than ISO as the ISO’s for each each gamma curve are different, so it can be difficult to understand how much gain is being added, especially if you are switching between gamma curves. Use gain and you will have a good idea of the noise levels as every time you add +6dB the image becomes one stop brighter and you double the noise in the image, +12 dB is 2 stops brighter and 4x noisier than 0dB etc. ISO is an exposure rating, it is not a sensitivity measurement. But don’t use too much gain or too high an ISO as this will affect you ability to use some of the very good post production noise reduction tools that are available.

Noise and Noise Reduction.

If shooting in very low light then you are quite probably going to want to use some noise reduction tools in post production. “Neat Video” works very well at cleaning up a noisy image as do the various NR tools in the paid versions of DaVinci Resolve.  These post production  tools work best when the noise is clean. By that I mean well defined. When using any of the 709 or Cinegamma curves a bit of gain can be used, but I wouldn’t go above 12dB as above this the NR starts to introduce a lot of smear and this than makes it hard for any post production NR processes like Neat Video to do a decent job without the image turning into a blurry mess. So don’t go crazy with the gain or use very high ISO’s as the post production NR won’t work as well on footage that already has a lot of in camera NR applied.

And if you can add a little light-

If you are adding any light use a daylight balanced light where you can. Video cameras are least sensitive in the blue channel. If you use a tungsten light which is predominantly warm/red to get a good white balance you have to increase the gain of the cameras least sensitive and as a result most noisy blue channel. This will add more noise than if you use a daylight balance light as for daylight you need less gain in the noisy blue channel.

There is no miracle cure for shooting in very low light levels. But with the right lens and a speedbooster the FS5 can do a very good job. But just in case yo haven’t worked it out already, I’ll say it one more time: The lens is the most important bit! Beyond this your next step would be adding an image intensifier for that green night vision look.

PXW-FS5 II Secret Sauce and Venice Colour Science.

At NAB 2018 a very hot topic is the launch of the FS5 II. The FS5 II is an update on the existing FS5 that includes the FS Raw output option and the HFR option as standard. So out of the box this means that this camera will be a great match to an Atomos Inferno to take advantage of the new Apple ProRes Raw codec.

Just like the FS5 the FS5 II can shoot using a range of different gamma curves including Rec-709, HLG, S-Log2  and S-Log3. So  for those more involved projects where image control is paramount you can shoot in log (or raw)  then take the footage into your favourite grading software and create whatever look you wish. You can tweak and tune your skin tones, play with the highlight roll off and create that Hollywood blockbuster look – with both the FS5 and the FS5 II. There is no change to this other than the addition of FS-Raw as standard on the FS5 II.

The big change, is to the cameras default colour science.

FS5II-1-1024x564 PXW-FS5 II Secret Sauce and Venice Colour Science.
New color science from the Sony PXW-FS5 II

Ever since I started shooting on Sony cameras, which was a very long time ago, they have always looked a certain way. If you point a Sony camera at a Rec-709 test chart you will find that the colours are actually quite accurate, the color patches on the chart lining up with the target boxes on a vector scope. All Sony cameras look this way so that if you use several different cameras on the same project they should at least look very similar, even if one of those cameras is a few years old.  But this look and standard was establish many years ago when camera and TV technology was nowhere near as advanced as it is today.

in addition, sometimes accurate isn’t pretty. Television display technology has come a long way in recent years. Digital broadcasting combined with good quality LCD and OLED displays now mean that we are able to see a wider range of colours and a larger dynamic range. Viewers expectations are changing, we all want prettier images.

When Sony launched the high end Venice digital cinema camera a bold step was taken, which was to break away from the standard Sony look and instead develop a new, modern, “pretty” look. A lot of research was done with both cinematographers and viewers trying to figure out what makes a pretty picture. Over several months I’ve watched Pablo, Sony’s colourist at the Digital Motion Picture Center at Pinewood studios develop new LUT’s with this new look for the Venice camera. It hasn’t been easy, but it looks really nice and is quite a departure from that standard Sony look.

The FS5 II includes many aspects of this new look. It isn’t just a change to the colours it is also a change to the default gamma curve that introduces a silky smooth highlight roll off that extends the dynamic range well beyond that normally possible with a conventional Rec-709 gamma curve. A lot of time was spent looking at how this new gamma behaves when shooting people and faces. In particular those troublesome highlights that you get on a nose or cheek that’s catching the light. You know – those pesky highlights that just don’t normally look nice on a video camera.

So as well as rolling off the brightness of these highlights in a smooth way, the color also subtly washes out to prevent the highlight color bloom that can be a video give away. This isn’t easy to do. Any colorist will tell you that getting bright skin tone highlights to look nice is tough. You bring down the brightness and it looks wrong because you loose too much contrast. De-saturate too much and it looks wrong as it just becomes a white blob. Finding the right balance of extended dynamic range with good contrast, plus a pleasing roll-off without a complete white-out is difficult enough to do in a grading suite where you can tweak and tune the settings for each shot. Coming up with a profile that will work over a vast range of shooting scenarios with no adjustment is even tougher. But it looks to me as though the engineers at Sony have really done a very nice job in the FS5 II.

Going forwards from here I would expect to see, or at least like to see, most of Sony’s future cameras have this new colour science. But this is a big step for Sony to break away from decades of one look and every camera looking more or less the same.  But do remember this change is primarily to the default, “standard” gamma look. It does not effect the FS5 II’s log or raw recordings. There is also going to have to be a set of LUT’s to go with this new color science so that those shooting with with a mix of the baked in look and S-log or raw can make all the footage match. In addition users of other S-Log cameras will want to be able to make their cameras match. I see no reason why this won’t be possible via a LUT or set of LUT’s, within the limitations of each cameras sensor technology.

There has been a lot of people that seem unhappy with the FS5 II. I think many people want a Sony Venice for the price of an FS5. Let’s be realistic, that isn’t going to happen. 10 bit recording in UHD would be nice, but that would need higher bit rates to avoid motion artefacts which would then need faster and more expensive media. If you want higher image quality in UHD or 4K DCI do consider an Atomos recorder and the new ProRes Raw codec. The files are barely any bigger than ProRes HQ, but offer 12 bit quality.

Given that the price of the FS5 II is going to be pretty much the same or maybe even a little lower than the regular FS5 (before you even add any options), I am not sure why so many people are complaining. The FS5-II takes a great little camera, makes it even better and costs even less.

 

PXW-FS5 Firmware Version 4.02 Released.

Sony have just released firmware version 4.02 for the PXW-FS5. This firmware fixes the bugs found by Sony in the initial release of the version 4 firmware and includes the new Hybrid Log Gamma picture profile No. 10 along with a change to the cameras base ISO rating. I note that there is no mention of the problems with HLG clips in Adobe Premiere, so this will require further testing to see if this has been fixed.

The firmware can be downloaded from here:

https://www.sony.co.uk/pro/support/software/SW_122115_PSG/50

From Sony:

Ver4.02 (Functionally, it is the same as the Ver.4.00.)

V4.02 fixes the following issue:
1.      Video image may be recorded with short delay of 2 or 3 frames of audio in other recording modes than AVCHD.
2.      When choosing [HLG1],[HLG2] or [HLG3] in the PictureProfile and CENTER SCAN in the CAMERA/PAINT menu, rebooting the camera may cause brightness and color shift.

Ver4.00(For your information)
1.    Support for High Dynamic Range (HDR) by shooting in Hybrid Log-Gamma** (HLG) standard
2.    Support for continuous 120fps High Frame Rate (HFR) recording in 1080p with CBKZ-FS5HFR (sold separately)
3.    Option to change the minimum ISO sensitivity number to ISO 2000 from ISO 3200 when recording S-Log2/S-Log3

What is HLG and what is it supposed to be used for?

While we wait for Sony to re-release the version 4 firmware for the FS5 I thought I would briefly take a look at what HLG is and what it’s designed to do as there seems to be a lot of confusion.

HLG stands for Hybrid Log Gamma. It is one of the gamma curves used for DISTRIBUTION of HDR content to HDR TV’s that support the HLG standard. It was never meant to be used for capture, it was specifically designed for delivery.

As the name suggests HLG is a hybrid gamma curve. It is a hybrid of Rec-709 and Log. But before you get all excited by the log part, the log used by HLG is only a small part of the curve and it is very agressive – it crams a very big dynamic range into a very small space – This means that if you take it into post production and start to fiddle around with it there is a very high probability of problems with banding and other similar artefacts becoming apparent.

The version of HLG in the FS5 firmware follows the BBC HLG standard (there is another NHK standard). From black to around 70% the curve is very similar to Rec 709, so from 0 to 70% you get quite reasonable contrast. Around 70% the curve transitions to a log type gamma allowing a dynamic range much greater than 709 to be squeezed into a conventional codec. The benefit this brings is that on a conventional Rec-709 TV the picture doesn’t look wrong. It looks like a very slightly darker than normal, only slightly flat mid range, but the highlights are quite flat and  washed out. For the average home TV viewer watching on a 709 TV the picture looks OK, maybe not the best image ever seen, but certainly acceptable.

However feed this same signal to an HDR TV that supports HLG and the magic starts to happen. IF the TV supports HLG (and currently only a fairly small proportion of HDR TV’s support HLG. Most use PQ/ST2084) then the HLG capable HDR TV will take the compressed log highlight range and stretch it out to give a greater dynamic range display. The fact that the signal gets stretched out means that the quality of the codec used is critical. HLG was designed for 10 bit distribution using HEVC, it was never meant to be used with 8 bit codecs, so be very, very careful if using it in UHD with the FS5 as this is only 8 bit.

So, HLG’s big party trick is that it produces an acceptable looking image on a Rec-709 TV, but also gives an HDR image on an HDR TV. So one signal can be used for both HDR and SDR giving what might be called backwards compatibility with regular SDR TV’s. But it is worth noting that on a 709 TV HLG images don’t look as good as images specifically shot or graded for 709. It is a bit of a compromise.

What about the dynamic range? High end HDR TV’s can currently show about 10 stops. Lower cost HDR TV’s may only be able to show 8 stops (compared to the 6 stops of a 709 TV). There is no point in feeding a 14 stop signal to a 10 stop TV, it won’t look the best. From what I’ve seen of the HLG curves in the FS5 they allow for a maximum of around 10 to 11 stops, about the same as the cinegammas. HLG can be used for much greater ranges, but as yet there are no TV’s that can take advantage of this and it will be a long tome before there are. So for now, the recorded range is a deliberately limited so you don’t see stuff in the viewfinder that will never be seen on todays HDR TV’s.  As a result the curves don’t use the full recording range of the camera. This means they are not using the recording data in a particularly efficient way, a lot of data is unused and wasted. But this is necessary to make the curves directly compatible with an HLG display.

What about grading them? My advice – don’t try to grade HLG footage. There are three problems. The first is that the gamma is very different in the low/mid range compared to the highlights. This means that in post the shadows and mid range will respond to corrections and adjustments very differently to the high range. That makes grading tricky as you need to apply separate correction to the midrange and highlights.

The second problem is that the is a very large highlight range squeezed into a very small recording range. It should look OK when viewed directly with no adjustment. But if you try stretching that out to make the highlights brighter (remember they never reach 100% as recorded) or to make them more contrasty, there is a higher probability of seeing banding artefacts than with any other gamma in the camera.

The third issue is simply that the limited recording range means you have fewer code values per stop than regular Rec-709, the cinegammas or S-Log2. HLG is the least best choice for grading in the FS5.

Next problem is color. Most HDR TV’s want Rec-2020 color. Most conventional monitors want Rec-709 color. Feed Rec-2020 into a 709 monitor and the colors look flat and the hues are all over the place, especially skin tones. Some highly saturated colors on the edge of the color gamut may pop out more than others and this looks odd.

Feed 709 into a 2020 TV and it will look super saturated and once again the color hues will be wrong. Also don’t fool yourself into thinking that by recording Rec2020 you are actually capturing more. The FS5 sensor is designed for 709. The color filters on the sensor do work a little beyond 709, but nowhere near what’s needed to actually “see” the full 2020 color space. So if you set the FS5 to 2020 what you are capturing is only marginally greater than 709. All you really have is the 709  with the hues shifted and saturation reduced so color looks right on a 2020 monitor or TV.

So really, unless you are actually feeding an Rec 2100 (HLG + 2020) TV, there is no point in using 2020 color as this require you to grade the footage to get the colors to look right on most normal TV’s and monitors. As already discussed, HLG is far from ideal for grading, so better to shot 709 if that’s what your audience will be using.

Don’t let the hype and fanfares that have surrounded this update cloud your vision. HLG is certainly very useful if you plan to directly feed HDR to a TV that supports HLG. But if you plan on creating HDR content that will be viewed on both HLG TV’s and the more common PQ/ST2084 TV’s then HLG is NOT what you want. You would be far – far better off shooting with S-Log and then grading your footage to these two very different HDR standards. If you try to convert HLG to PQ it is not going to look nearly as good as if you start with S-Log.

Exposure levels: If you want to get footage that works both with an HLG HDR TV and a SDR 709 TV then you need to expose carefully. A small bit of over exposure wont hurt the image when you view it on a 709 TV or monitor, so it will look OK in the viewfinder. But on an HDR TV any over exposure could result in skin tones that look much too bright and an image that is unpleasantly bright. As a guide you should expose diffuse 90% white (a white card or white piece of paper) at no more than 75%. Skin tones should be around 55 to 60%. You should not expose HLG as brightly as you do Rec-709.

Sure you can shoot with HLG for non HDR applications. You will get some slightly flat looking footage with rolled off highlights. If that’s the image you want then I’m not going to stop you shooting that way. If that’s what you want I suggest you consider the Cinegamma as these capture a similar DR also have a nice highlight roll off (when exposed correctly) and do use the full recording range.

Whatever you do make sure you understand what HLG was designed for. Make sure you understand the post production limitations and above all else understand that it absolutely is not a substitute for S-log.

Sony suspends release of PXW-FS5 firmware version 4.

I don’t think I have ever seen this before.

FS5-1024x537 Sony suspends release of PXW-FS5 firmware version 4.
Sony halts the roll-out of
the version 4 PXW-FS5 firmware update.

Just a few days after the release of firmware version 4.0 for the PXW-FS5 and Sony have taken it down from their websites and suspended the release until some time in early August.

So far no explanation has been given and understandably those that have already applied the update to their cameras are somewhat concerned as there is no way to roll back the firmware.

Clearly something is up, but I don’t know what. To halt the firmware release it must be something of some significance, but I don’t know what that might be (Update: One possibility is that it could be due to the issue with playback in Adobe Premiere).

I have sent emails to my contacts in Sony, but have yet to receive a reply. I know some of them are on holiday. If I hear anything I can share I will let you know.

In the mean time… I updated my FS5 on the 20th. I have been using it every day since then and so far nothing bad or unusual has happened. Nor have I heard any reports of anything that may be of concern. So I would not panic if you have already done the update. I doubt it does any harm to the camera.

 

 

PXW-FS5, Version 4.0 and above base ISO – BEWARE if you use ISO!!

The new version 4.0 firmware for the PXW-FS5 brings a new lower base ISO range to the camera. This very slightly reduces noise levels in the pictures. If you use “gain” in dB to indicate your gain level, then you shouldn’t have any problems, +6dB is still +6dB and will be twice as noisy as 0dB. However if you use ISO to indicate your gain level then be aware that as the base sensitivity is now lower, if you use the same ISO with version 4 as you did with version 3 you will be adding more gain than before.

Version 3 ISO  in black, version 4 ISO in Blue

Standard 1000 ISO – 800 ISO
Still 800 ISO- 640 ISO
Cinegamma 1  800 ISO – 640 ISO
Cinegamma 2  640 ISO – 500 ISO
Cinegamma 3  1000 ISO – 800 ISO
Cinegamma 4  1000 ISO – 800 ISO
ITU709 1000 ISO – 800 ISO
ITU709(800) 3200 ISO – 2000 ISO
S-Log2 3200 ISO – 3200/2000 ISO
S-Log3 3200 ISO- 3200/2000 ISO

At 0dB or the base ISO these small changes (a little under 3dB) won’t make much difference because the noise levels are pretty low in either case. But at higher gain levels the difference is more noticeable.

For example if you  often used Cinegamma 1 at 3200 ISO with Version 3 you would be adding 12dB gain and the pictures would be approx 4x noisier than the base ISO.

With Version 4, 3200 ISO with Cinegamma 1 is an extra 15dB gain and you will have pictures approx 6 time noisier than the base ISO.

Having said that, because 0dB in version 4 is now a little less noisy than in version 3, 3200 ISO in V3 looks quite similar to 3200 ISO in version 4 even though you are adding a bit more gain.

2020 Color Clips from the PXW-FS5 Crash Adobe Premiere CC 2017-1

This is not good. Unfortunately any clips recorded in the FS5 using the Rec2020 color option in the new Picture Profile 10 cause Adobe Premiere CC 2017.1.2  to crash as soon as you try to play them back.  The clips play back fine in Resolve or in earlier versions of Premiere CC, but with the latest version of Premiere CC you get a near instant crash no matter what your playback settings.

If you are running an earlier version of CC then stay with that for now if you want to work with the new HLG clips and 2020 color. Rec 709 color works just fine so you can shoot HLG with Rec709 color and edit that in Premiere CC, but HLG + 2020 color will crash Premiere CC 2017.1.2. Hopefully this will get resolved soon by Adobe/Sony.