But I thought I would also write more of an opinion piece here. What do I really think about the FX6 and also where does it fit in the grand scheme of things.
First off, it is a brilliant little camcorder. But it has to be. There is huge pressure from ever better mirrorless cameras and ever better larger cameras. Red’s Komodo is similarly priced and offers an interesting option if you are a film maker.
Sony really have packed an amazing set of features into the FX6, S-Cinetone, LUT’s, CineEI all make it a very, very interesting camera for film makers and corporate video producers alike. But the FX6 hasn’t been aimed at broadcasters, the lack of interlace recording and output and the lack of a streaming function make it less desirable for news and current affairs. That’s more of the realm of the FX9.
The FX6 is likely to be a huge success. I know I will be getting one. It will be fantastic for my trips overseas where size and weight are important, and I can’t wait to try to shoot the Northern Lights with it. The low light performance is indeed very impressive but this could become a problem area for it.
When you have a camera with a base ISO of 12,800 I think there will be an expectation that you won’t need to light, that it will produce brilliant pictures no matter how dark it is. But you have to remember that one of the keys to getting good results in any light level is not the amount of light but the amount of contrast. You will still need to think about how you add or control the light in your scenes and it will be all too easy to blame the camera when you don’t get great looking pictures on a pitch dark night shoot with no light to add some contrast.
When I had the pre-production FX6 I took it up to the Lake District, shot interiors at home and spent a couple of days examining the images with charts and test scenes. What I learnt was that it is a very easy camera to work with. Changing settings via the touch screen is quick and simple. The single menu button that first brings up what are referred to as status pages on the FX9 and then with a long push brings up the main menus is brilliant. One button for both. No fumbling around going from the status button to the menu button as on the FX9. The auto focus works brilliantly, and I love having a waveform display with the zebra levels clearly indicated on it. It makes judging exposure easy and reliable. Set the zebras to 61% and if you toggle the s709 LUT on and off you can check the brightness of a white card when looking at the S-Log3 or skin tones when looking at the s709.
Going back to the Auto Focus for a moment – Yes, it does work in S&Q and even when shooting UHD 120fps. BUT I did find it less responsive and slower to respond when shooting at 120fps, it definitely didn’t seem as good as when shooting at normal frame rates.
I’m really looking forward to using it on gimbals, lighter weight sliders etc. For those on a tight budget having a lighter camera means you can also save money on your support gear compared to a heavier camera. I think I’m going to enjoy shooting with the FX6 and I’m sure many others will enjoy it to.
And that’s the thing. It’s an easy camera to use, it delivers a beautiful image with very little effort. This is one of it’s big strengths and why I believe it will convert a lot of mirrorless DSLR shooters over to a “proper” video camera. It brings the ease of a built in variable ND filter, LUT’s and other great exposure tools for shooting log, good battery life and pro audio all together in an easy to use package at a good price. At the same time it isn’t so big that you need huge pro tripods and expensive heavy duty support equipment.
It will also appeal to users of Sony’s Venice digital cinema camera to get into places you simply can’t get the bulk of a Venice or as a crash camera for high risk shots. The picture match close enough that it won’t stand out in a finished production as an obviously different camera.
One issue is the lack of audio inputs when the top handle is removed. This does seem to be an oversight. Gimbal users will find it frustrating I’m sure. Time to break out the external audio recorders, at least the built in scratch mic will help with audio sync. Maybe someone will figure out a way to get audio into the camera body via the connector that the top handle plugs into.
So where does this leave the FX9? The FX9 is a great camera. It is worth remembering that the FX6 really is Full Frame only (unless you are happy shooting HD in it’s super 35mm mode). So users of normal 35mm PL lenses will be better off with the FX9 with it’s greater choice of scan modes including 6K FF, 5K crop FF and 4K s35. In the next firmware update the FX9 will also get a 2K s16 center scan mode. I still love shooting with my super 35mm Fujinon MK’s on the FX9, it’s a great combination. The FX9 also has no issues with interlace, so news shooters that still need 1080i will want the FX9 and not the FX6. I have every intention of getting an FX6 but I have no plans on parting with my FX9. Because the images from the two cameras look virtually identical they will compliment each other nicely (anyone want to buy my FS5??).
And that for me is the thing: Two cameras for two different types of shoots, but both look the same, so I can just use whichever is the most appropriate for the job without any concern.
The ACS have produced a video report about some of the testing that they did with a pre-production FX9. It’s quite a long video but has some interesting side by side comparisons with the FS7 which we all already know very well. You’ve heard much of what’s in the video from me already, but I’m a Sony guy, so it’s good to hear the same things from the much more impartial ACS.
With my super geek hat on it was really interesting to see the colour response tests performed by Pawel Achtel ACS at 37.08. These tests use a very pure white light source that is split into the full spectrum and then the monochromatic light is projected onto the sensor. It’s a very telling test. I was quite surprised to see how large the FS7’s response is, it’s not something I have ever had the tools to measure. The test also highlights a lack of far red response from the FS7. It’s not terrible, but does help explain why warm skin tones perhaps don’t always look as nice as they could. I do wonder if this is down to the characteristics of the cameras IR cut filter as we also know the sensor to be quite sensitive to IR. The good news is that the PXW-FX9 has what Pawel claims to be the best colour accuracy of any camera he’s tested, and he’s tested pretty much all of the current cinema cameras. Take a look for yourself.
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.
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.
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.
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.
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.
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.
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.
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).
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
This is a question a lot of people are asking. As I’ve mentioned in other recent posts, sensors have reached a point where it’s very difficult to bring out a camera where the image quality will be significantly different from any other on the market for any given price point. Most differences will be in things like codec choices or trading off a bit of extra resolution for sensitivity etc. Other differences will be in the ergonomics, lens mounts and battery systems.
So it’s interesting to see what Keith Mullin over at Z-Systems thought of the EVA1. Keith knows his stuff and Z-Systems are not tied to any one particular brand.
Overall as expected there isn’t a huge difference in image quality between any of the 3 cameras. The EVA1 seems weaker in low light which is something I would have predicted given the higher pixel count. The dual ISO mode seems not to be anywhere near the same as the really very good dual ISO mode in the Varicam LT.
Having done a fair bit of shooting with the new and very nice Fujinon MK 18-55mm E-Mount lens I decided to take a much closer look at the Fujinon Cabrio XK6x20 20 to 120mm T3.5 lens with the servo hand grip.
The price of this lens is very competitive and it can now be found as low as £11K/$16K. Lets not try to pretend that good quality PL mount zooms are cheap, but this is a great price for what is very high quality glass. The 20 to 120mm zoom range is nice and of course it’s truly parfocal there is a back focus adjuster along with macro function.
Like the other similar ENG style PL zooms this lens is quite heavy. The front element of the lens is huge and I’m sure a lot of the weight comes from this big lump of glass. One of the nice things about this lenses baby brother the MK 18-55, is that the 18-55 is really very light, which is great on the smaller cameras like the FS5 or FS7.
The 20-120mm Cabrio exudes quality. The build quality of the lens is wonderful, the witness marks are crisp and well engraved, the servo zoom is silky smooth. The large servo module acts as a handgrip just like traditional ENG lenses and it really comfortable to hold and use this way. But if you don’t need it it can be easily removed leaving the bare bones lens body and saving a little bit of weight. There are the usual 0.8 mod pitch gears on each of the focus zoom and iris rings. Focus ring travel is huge at about 200 degrees and due to the physical size of the lens this is as much as I’d ever want. Even towards infinity there is still a nice range of travel so focussing accurately on distant objects is easy.
But what about the image quality, how does the lens perform in real world situations?
To find out I used it for a shoot in Norway. The shoot was for TV manufacturer Philips. We wanted to obtain some high quality 4K HDR footage to show off the capabilities of a new 4K OLED Ambilight TV. Unfortunately the weather conditions on the shoot were pretty grim most of the time and this made it all the more challenging. But I’m pleased to say that both lenses performed very well despite snow, ice and cold.
One of the great things about having both the high end Cabrio 20-120mm and the budget friendly 18-55mm for the shoot was that the overall look of the images from the FS5 and F5 was the same. Often mixing lenses from different manufacturers results in different looking images giving the colourist more work to do in post. Fujinon now have a range of lenses to suit most budgets from the high end Cabrio 19-90mm T2.9 down through the Cabrio 20-120 T3.5 to the MK 18-55 T2.9.
So what do the images from these lenses look like? I’m afraid I can’t show any of the footage from the Philips shoot yet, I should be able to show it later in the year. Below are a couple of frame grabs to give you an idea of the kind of images you can get. We didn’t shoot the same shots with the F5/XK6x20 and FS5/MK18-55 at the same time, I was the only cinematographer. So I don’t have a side by side comparison from the shoot, but the different scenes shot with each lens/camera combo match really well.
TESTING BOTH LENSES:
In order to better directly compare the two lenses I shot some test shots. The XK6x20 on my F5 and the MK18-55 on my FS7. Both cameras were set to the same settings and hypergamma 3 with the cinema matrix used. The images you will see below have not been touched, this is how they looked straight from the camera. If you click on the picture you should get a link to the full frame 4K image, but do remember this are Jpegs.
I tried to get the same shots with both combinations but you will see some small variations. I apologise for that. To give as fair a comparison as possible I did most of the shots at 20mm and 55mm, but then in addition shot at 18mm on the MK18-55 and 120mm on the XK6X20 so you can see the additional range each lens offers.
First test was of a neighbours Cherry tree in blossom.
The next test was a simple setup shot of a couple of beer bottles on a table with strong sunlight from above and behind to create deep contrast. I wanted to see if either lens showed signs of loosing shadow detail due to the very large, very bright table top introducing flare into the shadows.
My conclusion with the above shots is that there is remarkably little difference between these two lenses. Both perform extremely well. I think the XK6X20 might be marginally sharper at the wide end than the 18-55mm, either that or the slightly better viewfinder of the F5 is allowing me to focus more precisely. In addition I think the bokeh of the more expensive Cabrio is marginally smoother than the 18-55, but again it’s a tiny difference (not as big as the difference in white balance of the two cameras).
Finally a shot of my ugly mug just so you can take a look at some skin tones.
Again very little difference between these lenses which is a good thing. Both perform very well, both produce pleasing images. Sure the XK6X20 20-120mm is more than twice the price of the MK18-55 but then it does offer twice the zoom range and it’s very hard to make fast parfocal lenses with big zoom ranges for large sensors. There will be a companion MK50-135mm lens coming later in the year, so with both the MK lenses you will be able to get the full range of the XK6X20 and a bit more, provided you don’t mind swapping lenses. It’s a tough choice if you have an E-mount Sony camera, which to get? For E-Mount I think the pair of MK lenses will be the way to go. If you have a PL mount camera the XK6X20 has to be a very serious contender. It’s a great all-round cinema zoom lens and a realistic price. Whichever way you do go you won’t be disappointed, these are proper cinema lenses.
Fujinon have a long history of producing excellent lenses. When I used to shoot motorsports, windsurfing and TV news I used to use Fujinon lenses on my 2/3″ Betacam, Digibeta and DVCAM camcorders. I still have a Fujinon remote zoom demand sitting in the cupboard. Today Fujinon still produce high quality lenses for broadcast cameras.
But Fujinon don’t just make lenses for broadcast cameras, they also make PL mount lenses for use with super 35mm cameras. Perhaps their best known cinema lenses are their “Cabrio” zoom lenses. When it was introduced the 19-90mm T2.9mm Cabrio was ground breaking as it offered a silky smooth zoom servo with an ENG style handgrip on a compact zoom lens.
The 19-90 Cabrio was the workhorse servo zoom that many F5/F55, Red and Arri users had been wanting for a long time. I’ve used the Cabrio’s and they are great lenses, I’d love to own one, but my budget just won’t stretch that far. The 19-90 costs around $40K but it is a beautiful lens.
Aware of the demand for a similar lens at a lower cost, last year Fujinon introduced a more affordable 20-120mm T3.5 lens. However even though much cheaper, at £13.5K/$16K it is still quite an expensive lens, especially when you consider that a camera like the Sony FS7 only costs £6k/$8K.
That brings us to today. Fujinon have developed a pair of new lenses specifically for E-Mount cameras. An 18-55 and a 55-135. The 55-135 isn’t ready just yet but the wider one, the MK18-55 is, and I’ve been lucky enough to have been loaned one to test.
As you can see the lens looks very similar to the more expensive XK20-120, but it’s actually a bit smaller and a lot lighter. The lens is an 18-55mm T2.9 (f2.8) Parfocal zoom. Parfocal means that the focus does not shift as you zoom as happens with most DSLR lenses. It’s E-Mount only, so you can’t use it on a Canon camera, but you can put it straight on to a FS5, FS7, even an A7S/A7R (The lens is designed for s35/APS-C so you need to use crop sensor mode or clear image zoom on a full frame sensor). No adapters needed! It’s a manual lens, no autofocus and there isn’t a zoom servo. But what you do get is beautiful image quality!
The short back focus distance of E-Mount compared to PL or EF makes it easier to produce an affordable high quality zoom lens, that’s why this lens is E-Mount only. To ensure that the lens remains parfocal on different cameras it has a backfocus adjustment ring. This ring also functions as a macro focus ring by pressing a small button. This allows you to focus on objects around 1ft/38cm from the lens. When not using macro the minimum focus distance is 0.85m/2ft9″.
The iris is a 9 blade iris with curved blades that produces a pleasing bokeh both inside and outside of focus.
To keep the weight down a lot of the lens exterior is made from plastic. It is quite a long (in length) lens. If it was all metal it would make a light camera like the FS7 front heavy, so while perhaps it doesn’t have the tactile feel of a $40K Cabrio it also doesn’t have the weight, the 19-90 is almost 6lb/2.7kg, the MK18-80 is just 34.6ox/980g. However it does feel well made. The focus, zoom and iris rings all feel very smooth and have just the right amount of rotation resistance and damping.
The focus ring has around 180 degrees of travel and the focus markings (in both metric and imperial) are clear and easy to read. Each ring also has a 0.8mm pitch gear ring.
In use I found the lens a pleasure to use. I can perform nice smooth manual zooms with ease. It is easy to focus with just the right amount of focus travel, not too much not too little. Focus breathing is very well controlled and quite minimal. It’s certainly one of the best lenses I’ve used at this price point. It feels and behaves like a proper cinema lens.
So what about the image quality? This lens does not disappoint. The images are sharp from edge to edge, corner to corner throughout the zoom range, even when wide open at T2.9. Contrast is good and even when shooting into the sun, flare is minimal. A square lens hood is provided with the lens that works well, but of course you can also use it with a matte box if you wish.
To me the images from this lens look closer to the ones I get from prime lenses than a zoom. I can see this lens being used instead of a set of primes for many productions and it certainly works out very cost effective compared to a set of decent prime lenses.
Chromatic aberration is well controlled and minimal and I didn’t notice any significant colour cast or tint. The lens is also remarkably free from geometric distortions (unlike the Sony 18-105 that is supplied as a kit lens with the FS5 that’s full of all kinds of distortions). There is a little, but it’s no worse than most other wide zoom lenses and nothing that I am concerned about.
While T2.9 isn’t super fast it is at least a stop faster than most (all?) of the other budget cinema zooms on the market. Plus it’s absolutely useable at T2.9 unlike some other lenses that go a little soft or become prone to flare when wide open. I’d be perfectly happy to shoot at T2.9 all day.
So, in case you haven’t noticed yet I really like this lens. It may not have the zoom range of the new Sony 18-110, but it’s a stop faster. It may not have the ability to be used on different mounts like the Canon 18-80 t4.4 but again it’s faster and has a real manual focus ring with hard stops and repeatable calibration. The new Zeiss 21-100 t2.9/t3.9 is interesting, but more expensive and not as wide nor as fast. You should be able to buy both the 18-55 and the 50-135 for less than the Zeiss.
So, if you are in the market for a proper digital cinema lens for your FS5 or FS7 do take a close look at the Fujinon MK18-55. I hope to get a chance to shoot some more interesting footage with this lens very soon and share it with you.
UPDATE: I should have anticipated this, I’ve been asked this many times today already. Given that the new Sony 18-110 f4 and the MK18-55mm are similar prices, which one would I choose?
I would probably choose the Fujinon, but my needs are not necessarily the same as others. Very often if I need a zoom lens I need a very big zoom range. For my storm chasing I use a Tamron 16-300mm dslr lens, I need a BIG zoom range. It’s a compromise, I know I can get better image quality with primes or a shorter zoom, but I often need to go from super wide to super long and the Tamron 19x 16-300mm zoom fits the bill. For run and gun handheld work I actually quite like the cheaper Sony 18-105mm. Sure the focus is a bit wonky and it has a lot of different geometric distortions, but it’s really small, very light and the autofocus works OK. It does the job I need of it.
Currently I own various prime lenses. I also have the Sigma 18-35mm f1.8 which I rate highly. For a drama or documentary shoot with my FS7 right now I would probably pack my 18-35mm Sigma, 20mm Sigma, my 14, 35, 55 and 85mm Samyangs plus the 16-300mm Tamron. I could see the Fujinon 18-55mm replacing ALL of the lenses below the 85mm Samyang, except perhaps the 14mm. So instead of carrying 4 lenses, I only need to take one and achieve the same kind of image quality (the Samyangs are T1.4, but normally I stop them down to T2 -T2.8 as they are a bit soft wide open). I will have less breathing, plus I can zoom during the shot. In addition I’m getting near prime lens quality without the need to keep swapping lenses when I need a different focal length.
The Fujinon is light and compact a big bonus when travelling. Once the MK50-135mm becomes available the pair would cover the majority of drama or short film focal lengths. Just 2 light and compact lenses. For me the Sony at f4 just isn’t quite fast enough for film style productions – great for run and gun and general purpose shoots but it’s not really the lens I want.
The only question that remains is what should I get for my F5 with it’s PL/FZ mount? If only the MK18-55mm would fit the F5. Have to save my pennies for the Fujinon XK6x20 20-120mm.
Although it’s been on the market for a while now I have not yet had a chance to write a proper review of the PXW-Z150. I’ve played with it a few times and I’ve felt it offers good value (approx £3k/$4K). As it’s starting to gain some traction amongst corporate producers and those looking for a straight forward 4K camera with lot’s of bang for the buck I though it’s time to share my thoughts.
Cameras like the Z150 are often overlooked these days as they don’t have the “cool” factor that comes with the large sensor Super 35mm cameras that are all the rage, cameras like the PXW-FS5 or FS7.
But not everyone wants shallow depth of field all of the time. In addition many people want zoom lenses that can zoom in to get a tight shot and zoom back out smoothly without a focus shift. If you add portability and ease of use into the mix then there is no Super 35mm camera that offers all of these. Want a big par focal zoom range – the lens gets big, heavy and very expensive.
This is where a one piece camera with a fixed zoom lens comes into it’s own. For a fraction of the the price of any of the 10 times or more par-focal S35m zoom lenses you can get a fully functioning camcorder. The PXW-Z150 has a 12x optical zoom that can be boosted up to 24x in HD (more on that later).
So lets take a closer look at the Z150.
From the outside the PXW-Z150 resembles many other handycam style cameras and is almost identical to the HXR-NX100. But this is from the PXW product line, I’m lead to believe that stands for “Professional XAVC Writer”. So this means it will have the XAVC codec. It’s also an XDCAM camcorder and in this case that means it also includes the MPEG2 HD codec. In addition in case you haven’t spotted it there is also a big “4K” symbol on the side.
CODECS AND RECORD FORMATS
So the camera can record UHD (3840 x 2160, the 4K standard for TV) at up to 30fps using Sony’s XAVC-L codec. This is the long GoP version of XAVC and comes in 60 and 100Mb/s versions in the Z150. It is worth considering that this codec does require a pretty good computer to work with it in post production, ideally a minimum of a 4 core i7 processor with 16GB of main ram plus a good NVIDIA or AMD graphics card with 2GB of dedicated video ram. In UHD XAVC-L is limited to 8 bit 4:2:0, this still produces a great looking image but is not considered good enough for main stream UHD broadcast.
The image below is a UHD frame grab from the Z150. Click on the image to see larger versions including the full 3840×2160 image. The grab is a jpeg so may have some compression artefacts not in the original frame.
If you are not shooting in UHD then you have lots of options. Again we have XAVC-L now at 25, 35 and 50Mb/s and up to 60fp. 35Mb/s and 50Mb/s XAVC-L is normally considered broadcast quality at 25/30fps. In HD XAVC-L is 10 bit 4:2:2.
As well as XAVC-L you also have two more 8 bit HD codecs, MPEG2HD and AVCHD. There are two versions of MPEG2HD, the regular HD version which is 4:2:0 at 35Mb/s as found in the older EX1 and EX3 camcorders as well as the 50Mb/s HD422 4:2:2 broadcast quality version as found in the PMW-200 and most of Sony broadcast camcorders. These older MPEG2 “XDCAM” codecs are still incredibly popular and accepted almost everywhere for broadcast HD. They are really easy to use and even though they are 8 bit still give great looking pictures. Finally if you just need something compact there is AVCHD, although frankly why you would want to use AVCHD when you have so many better options available I’m not sure. Perhaps those running older or consumer based edit software will benefit from the inclusion of AVCHD.
In order to be able to record all the different formats available you must use SDXC cards. These are readily available and low cost. Please remember though that SD cards are consumer media. It is normally very reliable (probably more reliable than tape used to be) but card failures can occur and a duff card could result in the loss of everything on the card. Fortunately Sony have considered this and the camera features two card slots.
The two card slots can be configured in a number of ways. To record long events you can use relay record where once the first card is full the camera will automatically switch to the second card. For security you can use simultaneous record where you record to both slots at the same time. This means you are creating an instant backup, so the failure of a single card should not be a drama. As a further option you can control the recording function of each card slot separately. You can use the record button on the hand grip to control one slot and the record button on the carry handle to control the other to give 2 independent recordings.
A further recording function is the ability to record a proxy file alongside the main recording. The proxy file can be used in a number of ways. One way is to provide an easier to handle 720p HD file for use as an edit proxy when shooting in UHD. Another is as a small compact file that can be uploaded to the internet via the cameras built in ftp function, perhaps for a breaking news story or remote editing and preview. As this is a proper video camera there are none of the overheating problems or limited record time issues that effect many DSLR type cameras.
One word of advice: Buy your cards from a reputable source. There is a lot of fake media out there that is almost indistinguishable from the real thing. The fake cards are often unreliable, so do make sure you only buy good quality genuine media from one of the main brands such as Transcend, Lexar, SanDisk etc.
1″ TYPE SENSOR.
The sensor that feeds all these different codecs is a “1 inch type” Exmor RS back illuminated CMOS sensor with 14.2 million effective pixels. What does all that mean?
“1 Inch Type” means the sensor size is bigger than the sensor on a 2/3″ broadcast camera but smaller than APS-C, Micro 4/3rds or Super 35mm (see this for more info on imperial type sensor sizes). So the depth of field will be deeper (more in focus) than a camera like Sony’s PXW-FS5 with it’s Super 35mm sensor, but shallower than most typical 2/3″ ENG broadcast shoulder cameras and other traditional handycams with 1/2″ or 1/3″ sensors.
Exmor RS is Sony’s latest generation of back illuminated sensor technology that gives better low light performance with small pixels compared to traditional front illuminated sensors. In addition RS stands for “Rear Stacked”. The stacking technology allows for a faster sensor readout among other things and this significantly reduces image skew and rolling shutter artefacts compared to the previous generation of these sensors. The faster readout also means that every pixel is used when shooting at up to 120 fps in HD using the cameras super slow motion function (note that this is 120fps interlace XAVC-L), so less aliasing and moire.
While RS does not eliminate rolling shutter artefacts from what I can see the Z150 offers a big improvement over cameras like the PXW-X70 and the A7S. You have to pan very fast before rolling shutter becomes a problem and in normal use skew and jello should not cause any significant problems.
12X OPTICAL ZOOM LENS.
Light is fed to the sensor by a 12x optical zoom lens. On the side of the camera there is a big and bold “18X“. That’s there because this camera also has Sony’s clever “Clear Image Zoom” technology. In the past if you mentioned a digital zoom it used to make people cringe as it normally meant a drop in picture quality. But Clear Image Zoom really is very clever.
First of all remember that in HD you have a UHD sensor, so you can crop into this by 2 times with virtually no loss in image quality anyway. So in HD you have an additional 2x zoom on top of the optical zoom giving a combined total of 24x. In UHD the camera uses a database of textures to determine the best way to process the image. This allows for a virtually transparent extra 1.5x electronic zoom on top of the optical one. This gives you the 18x zoom range indicated on the camera body. In use, the clear image zoom function works seamlessly with the optical zoom. So as you zoom in or out the electronic zoom takes over where the optical one finishes.
There is the very slightest of bumps in the zoom at the changeover point from optical to digital which I don’t think most audiences would spot. After shooting so much recently with Super 35mm cameras I really had forgotten just how much quicker it can be to shoot with a good par-focal zoom with a high zoom ratio (par focal – focus remains constant through the zoom range). The lens is reasonably wide at the equivalent of 29mm going all the way optically to a 348mm in full frame 35mm terms. The only downside really to the zoom is that the widest aperture ramps from f2.8 to f4.5 as you zoom in. This is one of the penalties you pay for having a larger sensor.
Another slight peculiarity of the aperture is that the minimum is f11. Most lenses go down to f16 or smaller, but this is limited to f11. I suspect this may be to prevent something called diffraction limiting. When light travels though a very small aperture it can become slightly defocussed. When you have very small pixels (like when you cram 4K’s worth of pixels onto a smallish sensor) this slight defocussing has a big impact and can lead to soft and blurry looking pictures. I suspect that Sony may be limiting the smallest aperture to f11 to prevent this and help ensure sharp pictures at all times. If you have too much light then don’t worry as you have a 4 way ND filter system where you can choose between clear, 1/4, 1/16th and 1/64 ND.
The lens has three control rings. One for aperture, one for zoom and one for focus. Unfortunately none of these have any markings as they are all electronic controls with no direct connection to the mechanics of the lens. Fortunately though the lens is quite responsive. The iris ring works well with almost no lag. The zoom ring is the weakest link as you can turn the zoom ring faster than the lens can zoom and this can result in some lag as you wait for the zoom to catch up. The zoom speed range is pretty good, using the rocker on the hand grip you can go from a very slow creeping zoom to a respectable 2.5 seconds (approx) from fully wide to 12x.
The focus ring is big and chunky, easy to find and easy to grip. While you can’t crash focus with it the manual focus, it is nice and responsive and doesn’t exhibit any nasty overshoots or other surprises. So manual focussing is nice and easy. This is assisted by a good viewfinder peaking and a focus magnification system that helps you determine the sharpest parts of the image with ease. One observation though is that if you leave the peaking on the default “White” setting it can make some scenes appear over exposed as white sparkles appear across areas of fine detail. For this reason I normally use the Red or Blue peaking colors.
INPUT AND OUTPUT CONNECTIONS
For audio there is a built in stereo mic on the front of the handle that is adequate for background and ambient sound recording. You then have the usual 2x XLR connectors with switchable phantom power on the front of the hand grip plus Sony’s MI Shoe on the top. Using the MI Shoe you can connect Sony’s UWP-D radio microphones directly to the camera via a low cost mounting adapter (SMAD-P3) eliminating the need for wires or batteries in the microphone receiver. It’s a very neat system.
To output your pictures you have an HDSDI connector on the rear of the camera for HD plus an HDMI port that can deliver UHD. There is also a legacy standard definition composite video output, this is one of the few Sony professional cameras to still have this built in. There is of course also a headphone socket on the rear panel of the camera just above the DC in socket.
POWER AND BUILD QUALITY.
The PXW-Z150 runs off readily available and incredibly common Sony NP-F series batteries. It’s a low power camera so a single battery lasts for ages. I got about 3.5 hours from one of the smaller F770 batteries. An F970 would give at least half a working day, so two of those is all that most people would need.
When I first picked the camera up it felt good. Like most modern cameras it’s constructed from a mix of plastics and alloy. The plastics appear to be of good quality and it seems to be well constructed. Perhaps not quite as high quality as the PXW-FS5 or FS7 but this is a much cheaper camera.
Buttons and switches:
There are very few switches on this camera. Just the on/off switch and switches for the audio inputs. But there are plenty of buttons including 6 user assignable buttons. For exposure control you have push buttons that select the gain, white balance and shutter settings and work in conjunction with a small up/down rocker button on the front left of the body. The rocker is used to scroll though the selections available for each of these. In practice this works quite well except that once you select one of these functions, lets say the gain, it remains selected and the rocker switch active unless you press a different function. If you press gain again to try to deselect it, gain will switch to auto and you have to press it again to go back to manual. It’s a minor thing but did result in me ending up accidentally going to auto gain or shutter when I didn’t mean to. I’m sure if you were to use the camera regularly you would soon get used to this.
Iris(aperture) is switched between auto and manual via a dedicated button as is focus. Autofocus works surprisingly well even in low light. It’s not fast but hunting is minimal once it’s focussed and it was able to track moving objects quite well.
While a one inch sensor is bigger than 2/3″ or 1/2″ it’s still significantly smaller than the Super 35mm sensors that are all the range. The Z150 has a lot of pixels squeezed onto quite a small space, so don’t expect amazing low light performance, it’s not that kind of camera. However it’s low light performance is very good for this class of compact all-in-one UHD/4K camera. For all but the most critical applications you can add 12dB of gain without any major dramas to boost the low light performance. +24dB isn’t horrendous if you really have to push the camera and the top limit of +33dB is impressive but rather noisy. In low light the lens works best when it’s wide and at f2.8. Zoom in and it drops down to f4.5 and that does drop your brightness by over a stop or the equivalent of a little over 6dB of gain (1 f-stop = 6dB = Double/half the ISO).
So picture quality… that’s a pretty important factor.
Single small sensor cameras have come a long way in recent years and the Z150 is no exception. The picture quality is pretty good for a budget camera. The smallish sensor with it’s tightly packed and very small pixels does impose some limitations on just how good it can be, especially in dynamic range and sensitivity but it does produce a nice picture for what it is.
Colours are vibrant, noise levels are low and dynamic range perfectly useable. I estimate about 10 stops of dynamic range so it’s not in the same league as the super 35mm cameras, but respectable none the less. Noise levels are low enough that you can afford to slightly under expose the camera and tweak the pictures a little in post production if you need to. This can be useful if you notice the camera is struggling with bright highlights. I used the cameras built in Histogram to help judge exposure and found that if I had bright highlights such as the bright clouds in the sky as seen in the frame grabs here, that the best results were achieved when ensuring the highlights were below the grey 100% line on the histogram. If you expose the highlights all the way to the far right of the histogram (109%) the highlight areas are flattened by the cameras knee and they can look a bit odd. I felt it was best to expose just a little lower as this gives better looking highlights (about half to one stop). If using auto exposure, including a -0.5 to -1 EV offset to the auto exposure (in the camera menu) has the same effect. Chromatic aberration is very low, probably being hidden by in camera processing. and the sharpening/detail correction well balanced. The PXW-Z150 creates good looking images for a single smaller chip sensor out of the box.
But as well as the standard look the camera does include 6 picture profiles which can be found towards the bottom of the camera menu. Each profile gives a quite different look.
As you can see each of these looks is quite different (The Z150 also has several different scene settings that can be used for shooting in full auto under differing lighting conditions, these change the way the camera works out the auto exposure levels).
The dynamic range is no different in each profile. PP2, the DSLR look adds contrast by crushing the mid range and blacks, it’s also highly saturated to give stronger colors, particularly reds. The red flower in the frame grab was not that red.
Picture Profile 3 mixes Rec709 gamma with Sony’s “Pro” color matrix. I like the Pro color settings as it gives true to life colors and it grades quite well if you want to make tweaks in post production.
Picture Profile 4 is Rec709 (ITU709) gamma and color. To me the colors are not as accurate as they could be. The flower looks a little too “electric” compared to the real life color.
The Cinematone Gammas in picture profiles 5 and 6 flatten the image a little and bring up the shadows. This can help a little if you wish to tweak or adjust the images in post production. The Cinematone gammas are not the same as the Cinegammas found in the higher dynamic range cameras like the FS5 or A7.
Personally I did not like the colors associated with the Cinematone color settings. But one of the great things about the Picture Profiles is you can mix and match the various gamma curves and color matrix settings to create your own looks and styles. The “Pro” color matrix offers some very accurate colors and I quite like the look that you get when you combine Cinematone 2 gamma with the Pro color matrix. If you find the colors a little flat you can boost the saturation level a bit, I found that setting the saturation to +15 gave a great look straight from the camera. Don’t be afraid to go into the Picture Profile settings and experiment with different combinations of Gamma curve and Color matrix. Just don’t turn up the Saturation too high, I would not recommend going above +20.
One small annoyance I found with the PXW-Z150 was that the only menu button is up on the top of the hand grip. As I like to fiddle around with the Picture Profile settings I did find it a little awkward to access the menu controls on the very top of the camera, especially if it was at shoulder height or above on a tripod. You can’t see them up there!
Like most modern cameras the PXW-Z150 has a full set of WiFi features including the ability to transfer files wirelessly via ftp to a remote server, to stream live or control the camera from a tablet or mobile phone. A future firmware update will add Sony’s QoS (Quality Of Service) streaming error correction that promises much improved image quality over poor network connections when streaming to a Sony QoS server. To remotely control the camera you need to install Content Browser Mobile on your Android or iOS device.
SUPER SLOW MOTION
One more trick that the PXW-Z150 has is the ability to shoot continuously at up to 120fps (100fps when the camera is set to 50i area). The image is full HD but more highly compressed than the regular HD recordings, plus it’s interlaced, not progressive. In addition the inevitable faster shutter speeds mean that you do need plenty of light to get the very best results. I could definitely see a small drop in image quality when shooting at 100 or 120 fps, but the footage is perfectly useable and it is great to be able to slow down motion by 4 or 5 times. You do need to be a little careful if using the interlaced footage within a progressive production as very fast moving objects that travel through the frame may exhibit the combing artefact common in regular interlace material when show progressively. To get the full 5x slow down the camera needs to be set to 60i area to allow the selection of 120fps.
The PXW-Z150 is a compact jack of all trades camera that’s easy to work with, has a great zoom range and delivers a respectable looking image. The largeish 1″ sensor gives a greater degree of control over the depth of field than you will have with a camera with a 1/2″ or 1/3″ sensor. But it’s isn’t going to give you that super shallow film look unless you are using longer focal lengths.
I think the Z150 will find a home in many corporate and industrial production applications. The ability to shoot in 4K gives the flexibility to crop int the image to re-frame shots for HD productions. And the price is good too, you get a lot of camera for the money.
I was lucky enough to get a chance to go out and shoot with a pre-production PXW-FS7 in Amsterdam during IBC. Guess what? It makes some very nice pictures!
In case you’ve had your head in the sand the last couple of weeks the PXW-FS7 is a new super35mm camcorder from Sony. It uses the same sensor as the Sony PMW-F5 and a lot of the camera is, I am sure, shared with the F5. Even the menu’s are almost exactly the same. It can record 4K internally on XQD cards using Sony’s XAVC codec. When the cameras start shipping next month you will be able to record 3840×2160 UHD/QuadHD as well as HD. Next year there will be an update to add 4096×2160 at up to 60fps.
Want to shoot slow motion? That’s no problem as the camera can go up to 180fps internally in HD and if you add an external raw recorder you can stretch that out to 240fps.
The XAVC codec options are great. You can choose between I frame for easy editing or long GoP which gives a smaller file size but needs more processing power to decode. The 10 bit 422 image quality is very similar in both cases, so choose which to use based on how much recording media you have and how powerful your edit machine is. If you still need the legacy HD XDCAM Mpeg codec then you have that too.
By adding the optional extension box to the rear of the camera you can even record ProRes HQ to the XQD cards (after a firmware update early next year). The extension box also adds the raw output needed to record raw to an external recorder such as The Odyssey 7Q or Sony R5 recorder. On top of that you also gain Timecode in and out plus genlock. To power all of this (and the camera) the extension box has a V-Mount battery plate on it’s rear. When not using the extension box the camera runs off BP-U type batteries, the same 12V batteries as used by an EX1 or PMW200 etc.
The FS7 has two different shooting modes. In custom mode the camera behaves pretty much like any other conventional camera where what you see in the viewfinder is what’s recorded on the cards. You can alter the cameras gamma curve, matrix and other settings, but basically what you see is what you get. The other mode is the CineEI mode (just like an F5 or F55) and in this mode the camera records using SGamut3.cine and S-Log3. The aim being to capture the maximum possible dynamic range and in this mode the cameras sensitivity is locked to it’s native ISO of 2000. As S-Log3 results in a very flat picture (that’s great for grading and post work) the camera includes the ability to add a range of Look Up Tables (LUT’s) to the viewfinder or HDSDI output. LUT’s help you better judge exposure and give a more pleasing image prior to grading. You can even generate your own LUT’s in software such as Resolve and load them in to the camera. For exposure assistance the camera has a range of tools including a waveform, vectorscope or histogram display as well as zebras.
Ergonomically the camera is very interesting. It has Sony’s E-Mount lens mount so you can use just about any lens you want simply by adding a lens adapter. Using a metabones or Commlite adapter you can use Canon EF lenses with ease. Likewise PL or Nikon lenses with the appropriate adapters.
Designed to sit on the front of your shoulder and supplied with a handgrip on an adjustable arm (attached via a standard Arri type rosette) the camera is easy to use. There are a couple of assignable buttons on the hand grip as well as a small joystick for navigating through the cameras menu system. A large zoom rocker will control any E-Mount zoom lenses used such as the new 28-135mm f4 lens and a further assignable dial wheel can be used to control the lenses aperture or other functions. The hand grip uses the LanC protcol so it should be possible to use other LanC devices with this camera.
The camera is a little front heavy as it sits on the front of your shoulder. When you add the extension box and a V-mount battery the balance is much better as the weight is now set much further back. With a 3rd party shoulder mount such as the new Vocas one or the dedicated Sony VCT-FS7 mount the camera can be turned into a true shoulder mount camera.
The LCD viewfinder is mounted on a thin arm that gives it forwards and backwards adjustment as well as up and down adjustment, but there is no left right adjustment.
Overall I think the viewfinder is the weakest part of this camera. The images in the VF are quite reasonable (its 940×560 resolution) but the mounting mechanism and loupe are not the best. Maybe this will be improved before the camera ships. I made a lot of use of one of the hand grip assignable buttons to provide focus magnification while shooting to ensure focus was spot on and it’s nice to have the focus mag function so easily accessible.
One issue I did find with the arm for the hand grip was that unless you fold it up out of the way you can’t slide the camera on and off a tripod. If you are using a base plate this is less of a problem but with a bare camera it’s a bit of a pain.
I found the operation of the camera almost identical to the PMW-F5. There are some differences however. The FS7 does not have a 2K center scan mode for the sensor. This is used on the F5/F55 to eliminate aliasing problems when shooting above 60fps where the 4K sensor is read out as a 2K sensor. On the F5/F55 if you don’t want to use the 2K center scan mode you can fit a special 2K low pass optical filter to eliminate aliasing above 60fps, but again this is not possible on the FS7.
Another thing the FS7 doesn’t have is the large side display of the F5 and F55. For conventional shooting this is not really a big deal. But if you are using the CineEI mode where you may be using LUT’s on different outputs not having this information clearly displayed is a bit of a nuisance. In fact during the shoot with the FS7 at one point I though I was shooting with a LUT when in fact I was not. The only way to be sure of how everything is set is to go into the cameras menu system.
But what about the image quality? Frankly it’s amazing! For the money the images this camera produces are remarkable. It is using the F5’s sensor and it does have 14 stops of dynamic range. S-log3 is a great gamma curve and the camera is very low noise, even at it’s native 2000 ISO. It was hard to tell as most of the shooting took place at night, but initially it doesn’t look like there is any difference between the quality of the footage from the FS7 and the PMW-F5. Great colours, low noise, high dynamic range with very pleasing roll off what more can you want? One area where there will be a difference is with raw. The PMW-F5 takes the Sony R5 directly docked on it’s back. The raw form the F5 is 16 bit while the raw from the FS7 is going to be recorded on an external recorder at only 12 bits. 12 bit linear raw is really pushing the limits of what is needed for linear raw. However we do already know that the 12 bit raw from Sony’s FS700 works well, so this should be no different.
Where this camera will be really good is when combined with the new 28-135mm f4 servo zoom lens. Typically par-focal lenses with this kind aperture and zoom ratio cost in excess of $30K. This lens will be around $2.7K. Being able to zoom in and out on a large sensor camera smoothly really increases the cameras flexibility making it much easier to use in run and gun type situations. The lens is never going to be an incredible performer at this price and when wide open I did find it a little soft, but for shear ease of use it’s really remarkable. The FS7 combined with this lens will be a killer combination and that’s why I have ordered one. It’s NOT replacing my F5, I love my F5 and I think that the F5 is a much better camera for drama or studio type shoots. But the FS7 will be very handy for fast and fluid productions. In addition, for the money this camera is an absolute bargain.
When you think of cine lenses then there are several brands that immediately come to mind. Zeiss, Arri, Cooke and Angenieux are probably the most familiar names but there are many others too. One brand I have been looking at more and more recently is Schneider.
Schneider Kreuznach have been making lenses since 1913. Based in Kreuznach in Germany they have long been know for their innovative designs and they won an Oscar in 2001 for Technical Achievement for their Super-Cinelux motion picture lenses.
A few years ago I met one of their lens engineers at NAB. I don’t think I have ever met a man as passionate about a lens design before or since. Every Schneider lens that I have ever used has been brilliant. They always seem to have near zero breathing, are always extremely solidly built and produce great images. So when I got a call from Manfrotto, the UK distributor to see if I would like a chance to play with some of the new Xenon FF (Full Frame) lenses I grabbed the opportunity.
The Xenon FF lenses are cine style lenses available with either Canon, Nikon or PL mounts. The mounts can be changed should you need to switch mounts at a later date. They are priced to directly compete with the Zeiss compact primes. At the moment there are only 3 lenses available, a 35mm, 50mm and 75mm, all are T2.1. In the near future there will also be a 25mm and 100mm T2.1 as well as an 18mm T2.4 Yum Yum! I’d love to have one of those for my Northern Lights or Storm Chasing expeditions. They are all the same size, have a 100mm front diameter, all have a 95mm lens thread. This means that swapping lenses during a shoot is straight forward as you don’t have to change Matte Box donuts or re-position the follow focus if you’re using one. Being Full Frame lenses and rated for 4K these should be a great match with the Sony A7s.
I got to play with a 35mm and 50mm with EF mount and decided to try them on my full frame A7s shooting in HD as well as taking a few still photos (which are the equivalent to 4.5K) on a cloudy and rainy day.
Straight out of the box you cannot help but be impressed by the build quality. These are substantial lenses, weighing in at around 1.25kg each with the EF mount. I could not find any plastic on these lenses, they look built to last.
The focus scale is large and easy to read, each lens being individually calibrated. Focus travel is a full 300 degrees. Even as you get to the far end of the focus ring the distances are still nicely spaced. From 9ft(3m) to infinity is around 100 degrees. Compare that to most DSLR lenses where the same focus range might be compressed into just 5 or 10 degrees and you can see that precise focus is much easier. Although sometimes a very large focus travel can make focus pulls a little harder simply because or the large distance the focus ring has to be turned. But I’ll take a big focus throw lens over small throw any day.
The lenses have 14 curved iris blades giving a very round aperture even when stopped right down. I love peering into these lenses at the aperture blades as they are a work of art (but really hard to take a photo of). You can also see in the photo that the coatings of the lens are a distinct orange colour.
In practice the lenses did not disappoint. It did seem a bit odd to have such a large and heavy lens on the diminutive A7s, but as image quality starts with the lens a good lens can make all the difference. I shot at various apertures from wide open at T2.1 down to about T8 and didn’t notice any significant change in resolution across the range (I took photos as well as video to check the lens performance).
The lenses do tend to flare a little bit, the 35mm more than the 50mm, but I thought the flares were quite pleasing, others may disagree. Take a look at the video to get an idea of what they are like. There was a bit more flare at T2.1 compared to T2.8 or T4 on both lenses.
I did some big focus pulls to see how much breathing there was and as with all the Schneider lenses I’ve used breathing was very minimal. There is some breathing, these are not like the Cine-Xenars which have virtually zero breathing, but the breathing really is small.
Another test shot was to shoot some tree branches silhouetted against the sky to check for CA and colour fringing. Basically I can’t see any. Maybe right out in the very corners of the frame there is the tiniest bit of CA, but you really have to hunt for it.
Colour wise there is no obvious colour shift, if anything perhaps very, very slightly warm. As expected the lenses are very sharp and crisp, from corner to corner, but not excessively so. I found that the images contained a lot of detail but had a pleasing roundness too them that I really like. I shot a chrome shopping basket and the reflections of the bright chrome look really nice. I think this is a combination of a little bit of flare without excessive sharpness. I think it’s a very nice natural look. This can be one of the benefits of a video lens over a stills lens. Stills lenses must be incredibly sharp to work with 24 or 36 mega pixel sensors. Sometimes this results is a super sharp image that lacks character. Arguably if you start with a very sharp image you can always soften it a bit in post, but sometimes it’s nice to start off with a more rounded image. Look at how popular Cooke lenses are, they are well known for their rounded rather than super sharp images.
As expected from a 14 blade iris the bokeh is very creamy and smooth. Both near and far out of focus areas look very good indeed. Out of focus edges are smooth and don’t show any obvious double edges or other distortions.
Take a look at the video for a better idea of the lens flares and the overall image quality. I really like the look you get from these lenses and wouldn’t mind a set of them for myself. I feel they have a lot in common with Cooke lenses, but at a much more affordable price. I hope to test them further in the near future and to a wider variety of scenes. I suspect they will be very good on skin tones and faces.
As the owner of a Sony AX100, which is a really great little 4K and HD camcorder I wasn’t really all that excited when I saw the first prototype of the X70 at Broadcast Asia back in June. You see in the past Sony have done this many times, taken a high end consumer camcorder, updated the firmware, added a handle and then sold it for a higher price as a pro camcorder. In the past, there has in reality been little difference between the cheaper consumer model and the more expensive pro version.
The PXW-X70 is different. This is much more than an AX100 with new firmware. For a start the body of the camera is quite different. The right hand side of the X70 is quite different to the AX100. It has a much fatter hand grip. This makes the camera much easier to hold comfortably for long periods. It also makes space for a full size HDSDI output and a full size HDMI output. But the differences don’t stop there.
On the top of the hand grip there is a large assignable button that is normally set to act as a control for the focus magnification function. This button falls immediately under your index finger when your shooting. In front of this is a new larger and easier to use zoom rocker and then in front of that is another assignable button, this one set as a one push auto iris button – very nice!
At the back of the handle there is a small joystick that ends up under your thumb (just where it needs to be). This joystick can be used to navigate through the cameras menu system. So, without taking your hand out of the hand grip you can check focus, zoom in and out, set your exposure and go through the menu system. If only it was this easy on all of Sony’s cameras! Ergonomically this camera is really good, especially when you consider how small it is.
The camera has a nice 12x stabilised, optical zoom lens, behind which sits a 1 inch 20 megapixel sensor. In video mode about 14 million pixels are used, so even in 4K (there will be a paid 4K upgrade option next year) there are more pixels than needed for full resolution. Rather than let this extra resolution go to waste you can activate Sony’s “clear image zoom” function that works seamlessly with the optical zoom to give you a 24x zoom range in HD.
The clear image zoom really is remarkably transparent. If you look hard enough at the image, on a big screen, when it’s zoomed all the way in you can just about discern a very slight softness to the image, but frankly I don’t think this is any worse than the softness you might see from a compact optical 24x zoom. It certainly doesn’t look electronic and unless you have side by side, with and without test clips I don’t think you would know that the clear image zoom has been used.
If 24x is not enough there is also a further digital extender, controlled by a button on the right side of the lens that doubles the digital zoom. This you can see, the image is a little degraded at 48x, but it’s not terrible, might be handy for a breaking news story where you can’t get close to the subject.
As well as the optical stabiliser in the lens the camera also has a switchable electronic stabiliser. The active steadyshot is very effective at smoothing out even the shakiest of hands. But it does tend to hang on or grab hold of the image a bit. So when you do deliberately move the camera it tends to try to stabilise the scene until it can no longer correct for the cameras movement at which point the scene is suddenly released and starts to move. If your using a tripod you definitely want to just use the standard steadyshot and not the active mode.
The pictures are recorded using either XAVC, AVCHD or standard definition DV to SD cards. For XAVC you must use SDXC cards, but these are cheap and readily available these days. There are two card slots and you can choose between relay record where the camera will switch from slot A to slot B once A is full, or you can make two simultaneous recordings on both cards at the same time. This gives an instant backup if you need it.
XAVC HD RECORDING:
The XAVC HD recordings are 10 bit 422 long GoP at 50Mb/s, 35Mb/s or 25Mb/s. The quality of the 50Mb/s recordings is amazing with no compression artefacts that I can see (there must be some, I just can’t see them). Even the 25Mb/s recordings look really good. You can shoot at up to 60fps in 60i mode and 50fps in 50i mode. In 60i mode you also have 24fps.
Considering this is a highly compact, single chip camera the images it produces are really very good. They don’t have that typical small sensor camera look. The pictures are remarkably noise free at 0db and largely free of artefacts. I tend to find that small handycams often suffer from what I would describe as “busy” pictures. Pictures where perhaps there is a lot of added sharpening or where the pixels are read in special ways to make a sharp picture. This makes edges slightly flickery and gives the pictures a tell tale small sensor look. The X70 with it’s big sensor and abundance of pixels just doesn’t have this “busy” look.
The pictures really look like they come from a pro camera. Occasionally very fine, high contrast details like white text on a black background can look a little busy, but this is very minor. Dynamic range is quite respectable, it’s not as good as a PMW-300, but not too bad for a compact handycam (I estimate about 10 to 11 stops of DR).
One thing I did find with this camera is that because there is so little noise and the codec is so good, you could quite comfortably shoot about a stop darker than you would normally and then just bring the image up a bit in post. Shooting a little darker helps the camera handle bright highlights and then in post you can just bring up the shadows and mid tones with a simple colour correction to give a nice exposure. I wish I had realised this when I shot the demo video. I would have exposed a little on the dark side and then tweaked the shots in post. There’s so little noise at 0db and so few artefacts that the image holds up to this really well. If your using auto exposure you can set an exposure offset to allow for this in the menu.
The X70 is pretty sensitive and 9db of gain is quite useable, so shooting indoors in a typical home or at a wedding venue without extra lights should be no problem. Ramp it up to +33db and it see’s better in the dark than I do, but there is a fair bit of noise at +33db.
As well as being generally rather sensitive the PXW-X70 also has a nightshot mode that bypasses the cameras IR filter and includes a switchable infra-red light, so you can shoot in total darkness if you want.
To see what you are shooting there is a 3.5″ LCD panel. This panel is higher resolution than the one on the AX100 and gives a sharp and pretty accurate image. On the back of the camera there is a small OLED viewfinder. This little OLED is pretty good. It has great contrast and is pretty sharp for a small finder. It’s a great feature on bright sunny days when the LCD can become harder to see.
CRISP, SHARP IMAGES:
The HD images are crisp and sharp without any obvious sharpening, almost certainly a result of having a 4K ready sensor. The lack of obvious detail correction helps give the pictures a pleasing, more filmic look. The camera has picture profiles so if you want you can soften or sharpen the images if you choose. As well as detail and aperture controls there are also controls for gamma (standard, still, Cinematone1, Cinematone2, ITU709) and color. The color controls are similar to those on the FS700 where you can adjust the saturation as well as R, G, B, C, M, Y and K brightness. In addition there is a choice of 6 different preset color modes plus black and white.
The camera can be controlled either fully automatically or fully manual as well as various in between modes. There is a switch on the back of the camera to switch between auto and manual. In manual you can control the iris, shutter and gain by pressing one of three buttons along the bottom edge of the camera and the using a small wheel just below the lens to set what you have selected. In practice this actually works quite well. There is another button for white balance control on the side of the camera with the usual presets plus auto white balance. Just under the Manual/Auto switch there is a selector for the built in ND filters. I recently purchased a A7s DSLR type camera and I had forgotten what a fiddle it can be to use a camera that doesn’t have built in ND’s. So it’s really good to see proper ND filters on the PXW-X70 as they really help you manage your depth of field.
On the lens there is a single large control ring that can be used to focus the lens or to act as a manual zoom ring. The focus is responsive and although I don’t normally like round and round servo focus rings this one wasn’t too bad.
There really is so much to this camera that it would take a small book to go through all the features. For example there’s the touch screen LCD that can be used for touch to focus or touch to expose where you just touch the part of the screen you want to expose or focus on. There’s a full set of exposure and focus aids including peaking, histogram, zebras etc.
On the top of the camera you have Sony’s new MI shoe (Multi-Interface) for connecting accessories like the supplied handle with XLR audio inputs. The supplied detachable handle is really well made and very secure when attached. One small note is that by default when you attach the handle to the MI-shoe the camera switches to XLR audio automatically by default. So if you don’t actually have a mic connected to the handle you won’t have any audio as the internal mic gets shut off. You have to go in to the audio section of the menu to enable the internal mic if you want to use the handle but want to use the built in mic.
If you want to do time-lapse or slow stuff down the camera has S&Q motion that goes from 1fps to 60fps at 1920×1080.
The camera has WiFi and NFC and allows remote control via Content Browser Mobile and simply touching an NFC enabled phone or tablet against the side of the camera will pair the camera with the phone or tablet. In the future following a firmware update you will be able to use the camera to stream your content live via U-stream.
Finally – build quality. It’s really well made. It feels nice and solid, it feels like it will really last. Don’t tell Sony, but I dropped the camera from waist hight while I was using it. It survived, no problem at all.
In conclusion: This is a nice little camera. It’s very easy to operate. The picture quality is very good for such a compact camera, the only thing that lets it down just a bit is the highlight handling. But the camera is so clean that you can afford to expose a little lower to compensate for this. Since shooting the demo video I have been playing with the picture profiles to help with the highlight exposure and I found that bringing up the black gamma really helps as it lifts the mid range allowing you to expose slightly lower.
The large sensor, combined with the switchable built in ND filters gives you much greater control over the depth of field than normally possible with a compact handycam.
I think you have to remember that this is a small camera. It isn’t a PXW-X180 and it never will be, but if your budget is tight and you want an easy to use compact camera this could be the one for you. I think it would be a good fit as a “B” camera or for use in lower budget corporate productions. In addition the PXW-X70 would be a good camera to give to PA’s and producers or to hand off to inexperienced shooters for fly-on-the-wall productions.
Camera setup, reviews, tutorials and information for pro camcorder users from Alister Chapman.