Just a very quick note that the last UK event of the Sony Pro Tour for 2017 will be in Glasgow on Thursday the 7th of December. I’ll be there to answer any questions and to give an in depth seminar on HDR including how to shoot HDR directly with the Sony cameras that feature Hybrid Log Gamma.
The event is free, there will be a wide range of cameras for you to play with including FS5, FS7, the new Z90 and X80 as well as monitors, mixers and audio gear.
More info here: https://www.sony.co.uk/pro/page/sony-pro-tour-2017
Just to let you know that from next month Sony we will be holding a tour in selected European countries to showcase their Handheld camcorder range, and as a result starting from November they will visit 4 locations across the UK, as detailed below. I will be in attendance at the UK events offering free advice and info, so if there is anything you are struggling with why not drop in and see me:
Here’s a little insight into what some of the Sony product prefixes might mean. These may not be 100% correct but this is what I understand them to mean. There are also many exceptions to the standard naming convention, so use this as a guide only.
First letter: P = Professional, B = Broadcast, U = Utility, D = Digital, H = Studio/OB, L = LCD, O = Optical
Second letter: V = Video (means video tape if camera), M = SxS Memory, D = Optical Disc, X = XQD/SD/SxS(solid state media or digital workflow), S = System, D = Multi format, P = Projector or Printer, R = Remote Control, W = wireless
Third letter: (or 3 + 4th): W = Writer( deck or camera that can also record/camcorder), M = Monitor, C = Camera(no recording capability) CU = Camera Control Unit, CP = Compact camera(no recording), X = HD, Z = 4K, D = Digital (HDSDI?), A = Archive
Then after the 3/4 letter prefix: F = Film (digital cinema, 16 bit raw when raw included), FS = Film Style (large sensor, 12 bit raw when raw included), X = HD from factory (often but not always upgradable to 4K) , Z is 4K from factory. NX = AVCHD
The number of digits after the letters used to be significant. 2 digits was a product without an imager (PMW-50, PMW-EX30) 3 digits was a camera (PMW-200, PMW-500) and 4 digits was a deck (PMW-HD1500, F1600). However recently cameras have any number of digits.
For example PXW-X200:
P = Professional X = Solid state media W = Writer – X = HD camcorder.
Example BVW-400 (Betacam SP camcorder – remember those!)
B = Broadcast V = Video Tape W = Writer
P = Professional X = Solid State Media W = Writer – FS = Film Style.
Example PMW-F55 (Slight odd-ball this one as it was the very first XAVC camera, perhaps should really have been a PXW-F55 although as it’s SxS and has the XDCAM codec PMW works too).
P = Professional M = SxS Memory W = Writer – F = Film (Digital Cinema).
Example PDW-700 (Optical disc camcorder)
P = Professional D = Disk W = Writer.
P = Professional M = SxS Memory W = Writer.
F65 = F65 Ultimate digital cinema camera, no prefix and a 35mm sensor, not 65mm as the name suggests. Other “F” only cameras used the sensor size for the name. The F35 had a super 35mm sensor and F23 which had a 2/3″ sensor.
CBKZ = Software upgrade option.
CBK = Camera build kit
HDW = HDCAM Writer.
SRW = HDCAM SR Writer.
DSR = Digital DVCAM camera/camcorder/deck.
I don’t know what the HXR prefix stands for, this line of normally AVCHD solid state camcorders used to come from a different group within Sony to the broadcast group. These two groups now work together so the product numbering is now more consistent, but there are still many product names that don’t follow the convention.
It’s interesting to note that there are very few “Broadcast” B** products these days except for BVM (Broadcast Video Monitor) monitors. Most camcorders are now P** even if they are most definitely broadcast cameras, for example the PXW-X500.
If anyone would like to add to this list or correct any errors please let me know by adding a comment. Any input/additions are most welcome!
Damn, I just purchased a Sony A6000 to take to Norway next week and this pops up. It’s the latest camera in the compact camera range from Sony that started with the NEX-5 and NEX-3, great little cameras that take great photos and have been timelapse work-horses for me.
The A6300 specs are beyond impressive. It has a new 25MP sensor with an improved type of construction that improves sensitivity. It’s only APS-C so I’m not expecting A7 MK2 performance, but it should do very well when the light levels are low.
One of the headline features for me though is it’s ability to shoot 4K XAVC-S that is originated from a 6K image coming off the sensor. On top of that this truly pocket sized camera has what appear to be the full compliment of cinegammas as well as S-log2 and S-log3. Now before everyone gets too excited, do remember that XAVC-S is 8 bit whether in HD or SD, but even so this is an amazing feature set for this kind of camera.
If that isn’t enough it can even shoot in HD at upto 120fps!
The price? Well the body only is $999 USD. It’s E-Mount so as usual you can put all kinds of lenses on it from Sony power zooms to PL mount primes and everything in between. For more information on what on paper at least appears to be a remarkable little camera click here.
This document has been prepared independently of Sony. It is based on my own findings having used the camera and tested various exposure levels and methods. LUT’s to accompany this article can be found here.
If you find this useful please consider buying me a coffee or a beer. I’m not paid to write these articles.
One of the really nice features of the Sony A7s is the ability to use different gamma curves and in particular the Sony S-Log2 gamma curve.
What are gamma curves?
All conventional cameras use gamma curves. The gamma curve is there to make the images captured easier to manage by making the file size smaller than it would be without a gamma curve. When TV was first developed the gamma curve in the camera made the signal small enough to be broadcast by a transmitter and then the gamma curve in the TV set (which is the inverse of the one in the camera) expanded the signal back to a normal viewing range. The current standard for broadcast TV is called “Recommendation BT-709”, often shortened to Rec-709. This gamma curve is based on standards developed over 60 years ago and camera technology has advanced a lot since then! Even so, almost every TV and monitor made today is made to the Rec-709 standard or something very similar. Many modern cameras can capture a brightness range, also known as dynamic range, that far exceed the Rec-709 standard.
The limitations of standard gammas.
As gamma effects the dark to light range of the image, it also effects the contrast of the image. Normal television gamma has a limited dynamic range (about 6 to 7 stops) and as a result also has a limited contrast range.
Normally the gamma curve used in the camera is designed to match the gamma curve used by the TV or monitor. This way the contrast range of the camera and the contrast range of the display will be matched. So the contrast on the TV screen will match the contrast of the scene being filmed and the picture will look “normal”. However the limited dynamic range may mean that very bright or very dark objects cannot be accurately reproduced as these may exceed the gammas dynamic range.
The over exposure typical of a restricted range gamma such as Rec-709 is commonly seen as bright clouds in the sky becoming white over exposed blobs or bright areas on faces becoming areas of flat white. Objects in shade or shadow areas of the scene are simply too dark to be seen. But between the overexposed areas and any under exposure the contrast looks natural and true to life.
Log gamma, such as Sony’s S-Log2, allows the camera to capture a much greater brightness range or dynamic range than is possible when shooting with conventional television gamma. Dynamic range is the range from light to dark that the camera can capture or the range that the monitor or TV can display within one image. It is the range from the deepest blacks to the brightest whites that can be captured or shown at the same time.
There are some things that need to be considered before you get too excited about the possibility of capturing this much greater dynamic range. The primary one being that if the camera is set to S-log2 and the TV or monitor is a normal Rec-709 TV (as most are) then there is no way the TV can correctly display the image being captured, the TV just doesn’t have the range to show everything that the camera with it’s high range log gamma can capture accurately.
Fixed Recording Range For Both Standard and Log Gamma.
The signal range and signal levels used to record a video signal are normally described in percent. Where black is 0% and the brightest thing that can be recorded is normally recorded at 100% to 109%. Most modern video cameras actually record the brightest objects at 109%. The important thing to remember though is that the recording range is fixed. Even when you change gamma curve the camera is still constrained by the zero to 109% recording range. The recording range does not change whether you are recording Rec-709 or S-log2. So log gamma’s like S-Log2 must squeeze a much bigger signal range into the same recording range as used by conventional Rec-709 recordings.
In order to record using S-log2 with the A7s you need to use a picture profile. The picture profiles give you several recording gamma options. For S-log2 you should use Picture Profile 7 which is already set up for S-log2 and S-Gamut by default (for information on gamuts see this article). In addition you should ALWAYS use the cameras native ISO which is 3200 ISO and it is normally preferable to use a preset white balance. Using any other ISO with S-log2 will not allow you to get the full benefit of the full 14 stops of dynamic range that S-log2 can deliver.
Grey Cards and White Cards.
Before I go further let me introduce you to grey and white cards in case you have not come across them before. Don’t panic you don’t have to own one, although I would recommend getting a grey card such as the Lastolite EzyBalance if you don’t have one. But it is useful to understand what they are.
The 90% White Card.
The 90% white card is a card or chart that reflects 90% of the light falling on it. This will be a card that looks very similar in brightness to a piece of ordinary white paper, it should be pure white, some printer papers are bleached or coloured very slightly blue to make them appear “brilliant white” (as you will see later in many cases it is possible to use an ordinary piece of white paper in place of a 90% white card for exposure).
The Grey Card.
The 18% grey card, also often called “middle grey” card, is a card that reflects 18% of the light falling on it. Obviously it will appear much darker than the white card. Visually to us humans an 18% grey card appears to be half way between white and black, hence it’s other name, “middle grey”.
Middle grey is important because the average brightness level of most typical scenes tends to be around the middle grey brightness value. Another key thing about middle grey is that because it falls in the middle of our exposure range it makes it a very handy reference level when measuring exposure as it is less likely to be effected by highlight compression than a 90% white card.
Exposing White and Middle Grey.
Coming back to Rec-709 and conventional TV’s and monitors. If we want a piece of white paper to look bright and white on a TV we would record it and then show it at somewhere around 85% to 95% of the screens full brightness range. This doesn’t leave much room for things brighter than a white piece of paper! Things like clouds in the sky, a shiny car, a bright window or a direct light source such as a lamp or other light. In order to make it possible for S-log2 to record a much greater dynamic range the recording level for white and mid tones is shifted down. Instead of recording white at 85%-95%, when using S-log2 it is recommended by Sony that white is recorded at just 59%. Middle grey moves down too, instead of being recorded at 41%-42% (the normal level for Rec-709) it’s recorded at just 32%. By recording everything lower this means that there is a lot of extra space above white to record all those bright highlights in any scene that would be impossible to record with conventional gammas.
As S-Log2 normally shifts a lot of the recording levels downwards, if we show a scene shot with S-Log2 that has been exposed correctly on a conventional Rec-709 TV or monitor it will look dark due to the lower recording levels. In addition it will look flat with very low contrast as we are now squeezing a much bigger dynamic range into the limited Rec-709 display range.
This on screen reduction in contrast and the darker levels are actually perfectly normal when shooting using log gamma, this is how it is supposed to look on a normal monitor or TV. So don’t be alarmed if when shooting using S-Log2 your images look a little darker and flatter than perhaps you are used to when shooting with a standard gamma. You will adjust the S-Log2 footage in post production to restore the brightness and contrast later.
The post production adjustment of S-Log2 is very important and one of the keys to getting the very best finished images. The S-Log2 recording acts as a digital negative and by “processing” this digital negative in post production (normally referred to as “grading”) we manipulate the large 14 stop dynamic range of the captured image to fit within the limited display range of a Rec-709 TV in a pleasing manner. This may mean pulling up the mid range a bit, pulling down the highlights and bit and generally shifting the brightness and colour levels of different parts of the image around (see PART 2 for more post production information).
SLog-2 and 10 bit or 8 bit data.
Originally Slog-2 was designed for use on high end digital cinema cameras such as Sony’s F65 camera. These cameras have the ability to record using 10 bit data. A 10 bit recording can have up to around 1000 shades of grey from black to white. The A7s however uses 8 bit recording which only has a maximum of 235 shades from black to white. Normally 8 bit recording is perfectly OK as most transmission and display standards are also 8 bit. Shoot with an 8 bit camera and then display that image directly via an 8 bit system and nothing is lost. However when you start to grade and manipulate the image the difference between 8 bit and 10 bit becomes more significant. If you start to shift levels around, perhaps stretching out some parts of the image then the increased tonal resolution of a 10 bit recording helps maintain the very highest image quality. Photographers that have shot using both jpeg and raw will know how much more flexibility the 12 bit (or more) raw files have compared to the 8 bit jpeg’s. However they will also know that 8 bit jpeg’s can be also adjusted, provided you don’t need to make very large adjustments.
Contrary to popular belief heavy grading 8 bit footage does not necessarily lead to banding in footage across smooth surfaces except in extreme cases. Banding is more commonly a result of compression artefacts such as macro blocking. This is especially common with very highly compressed codecs such as AVCHD. The 50Mbps XAVC-S codec used in the A7s is a very good codec, far superior to AVCHD and as a result compression artefacts are significantly reduced, so banding will be less of an issue than with other lower quality codecs. If your going to shoot using S-Log2, some grading will be necessary and as we only have 8 bit recordings we must take care to expose our material in such a way as to minimise how far we will need to push and pull the material.
Getting Your Exposure Right.
When S-Log2 was developed the engineers at Sony produced tables that specified the correct exposure levels for s-Log2 which are:
As you can see the nominal “correct” exposure for S-Log2 is a lot lower than the levels used for display on a typical Rec-709 TV or monitor. This is why correctly exposed s-log2 looks dark on a conventional TV. The implication of this is that when you grade your footage in post production you will have to shift the S-log2 levels up quite a long way. This may not be ideal with an 8 bit codec, so I decided to carefully test this to determine the optimum exposure level for the A7s.
The panel of images below is from the A7s recording S-log2 and exposed at the Sony recommended “correct” 32% middle grey level. The correct exposure was determined using a grey card and an external waveform monitor connected to the cameras HDMI output. Then the S-log2 was corrected in post production to normal Rec-709 levels using a Look Up Table (LUT – more on LUT’s in part 2). You can also see the viewfinder display from the camera. If you click on the image below you can expand it to full size. Sorry about the shadow from the laundry line, I didn’t see this when I was shooting the test shots!
From this you can see just how dark and low contrast looking the original correctly exposed S-log2 is and how much more vibrant the corrected Rec-709 image is. I have also indicated where on the cameras histogram middle grey and white are. Note how much space there is to the right of white on the histogram. This is where the extra highlight or over exposure range of S-log2 can be recorded. When correctly exposed S-log2 has an exposure range of 6 stops above middle grey and 8 stops under.
Over Exposing or “Pushing” S-log2.
If we deliberately raise the exposure level above the Sony recommended levels (known as pushing the exposure), assuming you grade the image to the same final levels some interesting things happen.
For each stop we raise the exposure level you will have 1 stop (which is the same as 6db) less noise. So the final images will have half as much noise for each stop up you go. This is a result of exposing the image brighter and as a result not needing to raise the levels in post as far as you would if exposed at the normal level.
You will loose one stop of over exposure headroom, but gain one stop of under exposure headroom.
Bright highlights will be moved upwards into the most compressed part of the log gamma curve. This can result in a loss of texture in highlights.
Skin tones and mid tones move closer to normal Rec-709 levels, so less manipulation is need for this part of the image in post production.
This last point is important for the A7s with it’s 8 bit codec, so this is the area I looked at most closely. What happens to skin tones and textures when we raise the exposure?
Exposing at +1, +2 and +3 Stops.
Below are another 3 panels from the A7s, shot at +1 stop, +2 stops and +3 stops. Again you can click on the images if you wish to view them full size.
Looking at these results closely you can see that when you increase the exposure by 1 stop over the Sony specified correct level for S-log2 there is a very useful reduction in noise, not that the A7s is particularly noisy to start with, but you do get a noticeably cleaner image.
Below are 4 crops from the same images, after grading. I really recommend you view these images full size on a good quality monitor. Click on the image to view larger or full size.
The noise reduction at higher exposures compared to the base exposure is very clear to see if you look at the black edge of the colour checker chart (the coloured squares), although the difference between +2 and +3 stops is very small. You can also see further into the shadows in the +3 stop image compared to the base exposure. A more subtle but important effect is that as the exposure goes up the visible texture of the wooden clothes peg decreases. The grain can be clearly seen at the base level but by +3 stops it has vanished. This is caused by the highlights creeping into the more compressed part of the log gamma curve. The same thing is happening to the skin tones in the +3 stop image, there is some reduction of the most subtle textures.
From this we can see that for mid tones and skin tones you can afford to expose between 1 and 2 stops above the Sony recommended base level. More than 2 stops over and brighter skin tones and any other brighter textures start to be lost. The noise reduction gain by shooting between one and 2 stops over is certainly beneficial. The down side to this though is that we are reducing the over amount of exposure headroom.
Given everything I have seen with this 8 bit camera my recommendation is to shoot between the Sony recommended base S-log2 level and up to two stops over this level. I would try to avoid shooting more than 2 stops over as this is where you will start to see some loss of texture in brighter skin tones and brighter textures. Exactly where you set your exposure will depend on the highlights in the scene. If you are shooting a very bright scene you will possibly need to shoot at the Sony recommended level to get the very best over exposure headroom. If you are able to expose higher without compromising any highlights then you should aim to be up to 2 stops over base.
Determining The Correct Exposure.
The challenge of course is determining where your exposure actually is. Fortunately as we have seen, provided you in the right ball park, S-log2 is quite forgiving, so if you are a little bit over exposed it’s probably not going to hurt your images much. If you have a waveform monitor then you can use that to set your exposure according to the table below. If you don’t have proper white or grey cards you can use a piece of normal white paper. Although slightly less accurate this will get you very close to where you want to be. Do note that white paper tends to be a little brighter than a dedicated 90% reflectivity white card. If you don’t have any white paper then you can use skin tones, again a bit less accurate but you should end up in the right zone.
If you don’t have an external waveform monitor then you do still have some good options. Sadly although the camera does have zebras, these are not terribly useful for S-log2 as the lowest the zebras can go is 70%.
Light Meter: You could use a conventional photography light meter. If you do choose to use a light meter I would recommend checking the calibration of the light meter against the camera first.
Mark 1 Eyeball: You could simply eyeball the exposure looking at the viewfinder or rear screen but this is tricky when the image is very flat.
In Camera Metering: The cameras built in metering system, like the majority of DSLR’s is calibrated for middle grey. By default the camera uses multi-point metering to measure the average brightness of several points across the scene to determine the scenes average brightness and from there set the correct base S-log2 exposure.
When you are using S-Log2, auto exposure in most cases will be very close to the correct base exposure if you use the default Multi-Zone exposure metering. The camera will take an average exposure reading for the scene and automatically adjust the exposure to the Sony recommended 32% middle grey exposure level based on this average. In the P, A and S modes you can then use the exposure compensation dial to offset the exposure should you wish. My recommendation would be to add +1 or +2 stops via the dial. Then observe the histogram to ensure that you don’t have any significant over exposure. If you do then reduce the exposure compensation. Lots of peaks to the far right of the histogram is an indication of over exposure.
Manual Exposure And Internal Metering.
If you are exposing manually you will see a small M.M. indication at the bottom of the LCD display with a +/- number. In the eyepiece viewfinder this appears as a scale that runs from -5 to +5, in S-log2 only the -2 to +2 part of the scale is used. In both cases this is how far the camera thinks you are away from the optimum exposure. + meaning the camera is over exposed, – meaning under.
In the image above we can see the M.M. indication is +0.3, in the eyepiece you would see a small arrow one bar to the right of “0” , indicating the cameras multi zone metering thinks the shot is just a little over exposed, even though the shot has been carefully exposed using a grey card and external waveform monitor. This error is probably due to the large amount of white in the shot, white shirt, white card, test charts with a lot of brighter than grey shades. In practice an error of 0.3 of a stop is not going to cause any real issues, so even if this was exposed by setting the exposure so that you have “M.M. 0.0” the exposure would be accurate enough. But it shows that multi point exposure averaging is easily confused.
The scene above is a fairly normal scene, not excessively bright, not particularly dark. If shooting a snow scene for example the cameras multi point averaging would almost certainly result in an under exposed shot as the camera attempts to bring the bright snow in the scene down to the average middle grey level. If shooting a well lit face against a very dark background then the averaging might try to bring the background up and the shot may end up overexposed.
If you want really accurate exposure then you should put the cameras metering system into the spot metering mode where instead of taking an average of various points across the scene the camera will just measure the exposure at the very center of the image.
You can then use a grey card to very accurately set the exposure. Simply place the circular shaped symbol at the center of the viewfinder display over a grey card and set the exposure so that M.M is 0.0 for the correct S-Log2 base exposure. To expose 1 stop over with a grey card, set M.M. +1.0 and two stops over M.M. +2.0 (not flashing, flashing indicates more than +2 stops).
One small issue with this is that the camera will only display a M.M. range of -2.0 to +2.0 stops. Provided you don’t want to go more than 2 stops over base then you will be fine with a grey card.
Using White Instead of Grey:
If you don’t have a grey card then you can use a 90% reflectivity white target. As white is 2 stops brighter than middle grey when S-Log2 is correctly exposed the 90% white should indicate M.M +2.0.
Once you have established the correct exposure you can then open the iris by 1 or two stops to increase the exposure. Or halve the shutter speed to gain a one stop brighter exposure. Each time you halve the shutter speed your exposure becomes one stop brighter, so divide the shutter speed by 4 to gain a 2 stop increase in exposure. As always you should observe the histogram to check for any over exposure. White peaks at the far right of the histogram or disappearing completely off the right of the histogram is an indication of over-exposure. In this case reduce your exposure back down towards the base exposure level (M.M 0.0 with a a grey card).
I recommend using an exposure between the “correct” base S-Log2 exposure level of middle grey at 32% and two stops over this. I would not recommend going more than 2 stops over over base.
In the P, A and S auto exposure modes, when using the default multi-zone metering the camera will set the base S-log2 exposure based on the average scene brightness. For most typical scenes this average should be very close to middle grey. This exposure can then be increased (brightened) by up to 2 stops using the exposure compensation dial.
In manual exposure the “M.M.” number displayed at the bottom of the viewfinder display is how far you are from the correct base S-log2 exposure. M.M. +2.0 indicates +2 stops over base. If using multi zone metering (the cameras default) this exposure will be based on the scenes average brightness.
If you set the metering to “Spot” you can use a grey card centred in the image to determine the correct base exposure and up to 2 stops of over exposure via the M.M. indication when shooting manually.
In Part 2:
In part two I will take a look at grading the S-log2 from the A7s and how to get the very best from the S-log2 images by using Look Up Tables (LUT’s).
I welcome feedback on my articles. If you have any feedback please let me know. I will make this available as a PDF for download once part 2 is completed.
NORTHERN LIGHTS 2016.
Don’t forget I run storm chasing and Northern Lights expeditions every year. I still have some places on the second Northern Lights tour in Feb 2016. These are amazing expeditions by snowmobile up on to the Finnmarksvidda. We go ice fishing, dog sledding, exploring, cook a meal in a tent and enjoy traditional Norwegian saunas.
I’ve been doing a lot of work on shooting SLog-2 with the A7s. I realised almost straight away that a set of LUT’s for this camera would really help speed up my grading and testing. In addition as the camera is only 8 bit I have found that I am actually getting the best results from the Slog-2 if I over expose it just a little bit, depending of course on the scene. So I created a set of LUT’s that includes compensation for shooting at the nominal correct exposure as well as either 1 or 2 stops over exposed. In all there are 20 LUT’s in two sets. One is Rec-709 based LUT’s and the other Filmic LUT’s to act as starting points for further grading.
I am in the process of creating the complete workflow and SLog-2 guide for the A7s which I should be publishing later next week which will have much more information on how to use these LUT’s. But in the mean time here are the LUT’s if anyone want’s to play (and I would like feedback on what you think of them).
The LUT naming goes something like this:
AC A7S 709(800) ZERO
AC (That’s me!). A7S (The Camera).
709(800) = Output gamma or style. ZERO = Exposure off set.
The exposure offset refers to the number of stops the footage is over exposed by relative to the normal SLog2 exposure level of Middle Grey at 32% and 90% white at 59%. ZERO menas no exposure offset. 1STOP would be used when the SLog2 was exposed 1STOP over and in this case the LUT then shifts the exposure back down 1 stop to compensate.
709 = Vanilla Rec-709, very contrasty, but limited highlight response and hard clip of over exposure.
709(800) = Rec-709 gamma with 800% (high) dynamic range. Will be slightly low contrast but deals much better with over exposure or bright highlights than vanilla 709.
Film-Like1 = An extended range gamma with highlight roll off (+400% range), slightly de-saturated, slightly more film like color (small red/yellow removed).
Filmic2 = Extended range low contrast gamma with very good over exposure handling. Slightly de-saturated. Good grading start point.
Filmic3 = Similar to Filmic2 but a little more contrast at the expense of a little less highlight roll off.
Click on the links below to download the LUT sets. PLEASE DO NOT HOST THESE ELSEWHERE OR DISTRIBUTE THESE ELSEWHERE OR VIA ANY MEANS OTHER THAN A LINK TO THIS PAGE.
I have just published a major update to my guide to Cine-EI on the PMW-F55 and F5. The guide now goes in to a lot more depth. I have tried to make it easy to understand but it is also quite technical, I have deliberately included the technical background stuff so that hopefully you will understand why Cine-EI and LUT’s work the way they do. I’ve added a whole new section on exposure methods for some of the different LUT’s as well as how to create your own LUT’s.
Please take a look if you use these cameras. Soon I will add a section on post production.
Off to the airport to fly home in a minute, but I thought I would jot down some notes about the various lenses we were able to look at during the F3 workshop I ran here in Dubai. We had a set of the Sony PL primes, a Zeiss CP2, some Zeiss ZF.2 stills lenses, a Nikon 50mm and a Tokina 28-70mm ATX pro zoom. The stills lenses were all attached to the F3 using an MTF to Nikon adapter.
It was hard to see any difference between the Sony primes and the CP2, this was kind of expected. When comapring the PL’s to the Tokina zoom, the zoom was a little soft wide open at f2.6. Stopped down half a stop and it looked much better, but it needed to go down to f4 before it came close to matching the PL’s. Even then the PL’s had the edge, but then this is comparing a zoom to a prime. I would certainly have no hesitation over using the Tokina at f4 or more closed. The Nikon 50mm pancake, f1.8 was surprisingly good. Even wide open it produced a respectable image, stopped down to f2.8 it was a very close match to the PL’s. The Zeiss ZF.2’s were the budget stars of the show as even wide open these produced sharp, clean images with very similar bokeh and flare performance to the primes, very impressive performance.
Of course ergonomically the PL’s were better. Bigger focus rings, bigger iris rings and better focus scales. The CP2 impressed with it’s near 360 degrees rotation of the focus ring with very clear and accurate witness marks and wide distance spacing even approaching infinity. If I could afford a set of CP2’s that’s what I would buy, but I can’t. The Sony PL’s are good lenses, they don’t quite have the build quality of the CP2’s but they do represent excellent value for the money. If your budget won’t stretch to PL glass then the Zeiss ZF.2’s are about as close as you’ll get to a PL lens, but do watch out for the amount of telescoping when you focus the longer focal length ones. That can make using a matte box very tricky. I know my Nikon 50mm and Tokina 28mm primes work well. The Tokina 28-70 while not as sharp as the primes will still make a good all-round lens. All I need now is to get a nice 85mm and 135mm and I’ll be happy. Maybe a couple of ZF’s.
Well the rumours have been circulating for some time and prototypes have been seen at various trade shows, but the full details have been sparse to say the least. Well here it is, it’s called the FS-100 and it’s a quite radical design from the Sony Shinegawa factory. The Super 35mm NXCAM shares the same sensor as the new PMW-F3, so the images will be excellent, but the design of the camera body itself could not be more different. If you don’t like it… well you can blame me and several other DoP’s that were invited to attend brainstorming sessions with the Sony engineers. In the photo below you can see the white board from one of those sessions and you can see where we (me and the other DoP’s) discussed ideas like a modular design with removable handles and how we hold handycam cameras.
The end result is this rather quirky but in my opinion, really quite clever and versatile design. The top viewfinder allows you to use the camera cradled in your hands in front of you, either using just the LCD panel or the monocular viewfinder. When your doing interviews you can twist it so that it is visible from either side of the camera, excellent for those interviews where you are both camera operator and interviewer. It allows you to alternate the sight lines from left to right of the camera for more varied interviews. It’s also useful for shooting in cramped locations such as in the front of a car as you can hold the camera sideways in front of you to shoot… I mean film…. the driver and still see what your getting.
Unlike most traditional camcorders the camera can be stripped down to just the sensor/recorder body. You can remove the top handle, mic holder and hand grip. In addition it has a multitude of tripod mounting holes on the top, bottom and even one side. On the base of the camera there are 6x 1/4″ threaded holes and wait for it… 2x 3/8″ holes. Hooray!! On the top there are a further 3x 1/4″ holes and there is even one on the side, revealed when you detach the removable hand grip. This is going to be fantastic for use on cars as a 35mm minicam or crash-cam. It will make getting all those different car chase angles so easy as a few small suction mounts will allow you to mount the stripped down camera just about anywhere. I can see the FS-100 becoming a “must-have” B camera to compliment my F3. The 1/4″ thread on the side of the camera means you can mount it on it’s side for portrait style shooting for digital signage or to get the maximum resolution when shooting people for chroma key.
While the camera does come with a detachable handgrip, there is no zoom rocker like the F3. That’s because the camera is primarily aimed at those using DSLR lenses which don’t have servo zooms, although PL mount adapters are available. The front end of the camera has Sony’s E mount for interchangeable lenses. It will come with the rather nice (if a little slow) 18-200mm f3.5-f6.3 optically stabilised zoom lens and the auto focus and auto iris do work! As well as Sony’s own G series lenses for the NEX cameras you can get adapters for Sony A mount and most other lenses. Do consider that if you are planning on using heavy PL lenses that the E mount is not designed for such high loads, so an additional lens support system should be used.
On the input and output front the FS-100 has most of the connectors you would expect to find on an NXCAM camcorder, with one notable exception… HDSDi. There is no HDSDi, but don’t panic! The camera does have HDMI and the quality available from HDMI is every bit as good as HDSDi. No word as to whether it’s 8 bit or 10 bit though. Sony are well aware that the one thing missing from HDMI is normally timecode, but even that has been addressed and it will be possible to export timecode in the HDMI stream, although at the moment we need to wait for the HDMI recorders to update them to accept timecode via HDMI. There are 2 XLR connectors for audio in. One on the right side and one on the rear, there is also the usual mini-D component out and RCA/Phono audio and composite video outputs.
When you start to delve into the cameras frame rates and recording modes things get really interesting as the FS100 will record full 1920×1080 at 60P and 50P. Even the F3 can’t do this internally (you can output 50/60P to an external recorder). As well as all the usual frame rates like 23.98, 60/50i, 30/25P you can also shoot full resolution slo-mo at up to 60fps using S&Q motion. It’s not quite as flexible as the F3 as you will find that you only have a choice of frame rates (for example 1,2,3,6,12,25,50fps) and won’t have the ability to dial in any frame rate you want, but all frame rates will be full 1920×1080. As with the other NXCAM camcorders all these lovely modes will be recorded on to SD cards or Memory Sticks using the AVC HD codec (mpeg 4), in addition you can add the Sony FMU128 (128Gb Flash Memory Unit) for dual recording giving peace of mind with one off events.
Once your footage is on your cards the cleverness of this camera continues as you don’t need a laptop to backup your data. Simply plug in a USB drive or even a Blu-ray burner), direct to the cameras USB port and you can backup direct from the camera to the drive. Your footage will contain GPS data about when and where you shot it, which for me will be a great bonus with my severe weather footage as I can never remember exactly where I was during a storm chase!
All in all this is looking like one hell of a camcorder. The street price is estimated to be below $6000 USD, so you do have to ask the question.. why buy an F3 when this is half the price? In my view they are two quite different cameras for different applications. The F3 has the ability to output full 10 bit 4:4:4 for extremely high quality recording possibilities. It also has built in ND filters and will have S-Log and 3D dual camera control. For multi-camera shoots the F3 has Genlock and timecode in/out. There will also be some nice servo zooms for the F3 some time later this year or early next year. The F3 is a camera that would not at all be out of place as a B camera on a big budget production. The FS-100 will I’m sure also find a place on big budget productions, perhaps as a crash-cam or mini cam. But overall I think it will be most at home on more run and gun style shoots where auto iris and maybe even autofocus are beneficial. I really do think that the FS100 will replace many of the DSLR’s out there currently being used for video as a lot of thought has gone in to the ergonomics.
These are very interesting times. It’s now possible to shoot a movie, with quality good enough for mainstream theatrical release on cameras costing little more than a high end home video camcorder of just a few years ago. I doubt most cinema goers would realise that a camera like the F3 or FS100 was used, especially if it’s recorded to a NanoFlash, KiPro or even the new Convergent Design Gemini. However we must not forget that content is king, not the technology that makes it possible.
Camera setup, reviews, tutorials and information for pro camcorder users from Alister Chapman.