This is for any Sony camera that is upgraded via a direct USB connection between the computer and the camera, so that includes cameras like the A7s, A7r, A6300 and the rest of the Sony Alpha series. It is also for many of the PXW video cameras including the PXW-FS5. You don’t need it for cameras like the PMW-F55 or PXW-FS7 where the update is done by placing the upgrade file on an SD card.
Without this driver the upgrade software will install and all appears to be working OK. Except you can’t get a good USB connection between the camera and the mac computer and the upgrade will fail.
Sony have just released a firmware update for the PXW-FS7 and PXW-FS7 II cameras. This is a minor update with only one new feature being added which is the ability to alter the recorded ISO when shooting in the Cine-EI mode.
When the camera is set to CineEI, this new function is turned on and off in the menu under System – Base Settings – Rec/Out EI Applied.
What does it do?
When shooting normally using Cine EI, assuming that no LUT is applied to SDI1/Rec the camera always records at it’s base sensitivity (2000 ISO exposure rating) with no added gain. This is done to ensure that the cameras full dynamic range is always available and that the full recording range of either S-Log2 or S-Log3 is always available.
Then the EI system is used to apply a LUT just to the viewfinder or SDI 2 for monitoring. The gain of the LUT can then be changed to provide a brighter or darker viewfinder/monitor image. For example setting the EI to 1000 EI would make the viewfinder image darker than the base setting of 2000EI by 1 stop.
Because you are viewing this darker image you would then open the cameras aperture by 1 stop to compensate. Opening the aperture up results in a brighter recording. A brighter recording, achieved by putting more light onto the sensor will have less noise than a darker exposure, so the end result is brighter recorded images with less noise.
This process is often referred to as “rating” the camera and it is in many cases preferable to “rate” the FS7 around a stop slower (Viewfinder is darker, less sensitive, so that means you end up opening up the aperture) than the base 2000 ISO rating to gain a cleaner image that typically gives much greater flexibility in post production. So many users will set the EI on an FS7 to 1000 or 800 (It’s no co-incidence that I find get the sweet spot to be 800EI which happens to match the rating that Sony give the FS7 when shooting Rec-709).
Because in the normal EI mode there is no change to the cameras actual recording gain (the recordings take place at the equivalent of 2000 ISO) there is no change to the dynamic range. The camera will always capture 14 stops no matter what you set the EI to. However if you open the aperture by an extra stop (selecting 1000 EI, which results in a 1 stop darker viewfinder image, so to compensate you open up 1 stop) you move the mid point of the exposure up 1 stop. This means you will reduce the over exposure headroom by 1 stop but at the same time you gain one stop of under exposure range. You will see 1 stop further into the shadows, plus there will be less noise, so the shadow range becomes much more useable.
Conventional EI mode and Post Production.
In post production these brightly exposed images will need some degree of adjustment. If you are doing a virgin grade from scratch then you don’t really need to do anything extra or different, you will just grade it to taste.
If you are using a LUT you will need to either use an exposure compensated LUT (I always provide these in any of my free LUT sets) or you will need to correct the exposure before applying the LUT. If you apply a standard LUT and then try to correct the exposure the results will often not be satisfactory as the LUT determines many things such as where any highlight roll-off occurs. Correcting after this can result in washed out of flat looking skin tones. So really you need to make the exposure correction to the material before it is passed to the LUT.
No loss of dynamic range with conventional EI.
It’s worth noting that even though the levels are reduced to “normal” levels when applying an exposure compensated LUT or through grading this should not reduce the dynamic range. You do not just shift the range down (which would hard clip the blacks and cause a loss of DR at the low end). What you are typically doing is reducing the gain to bring the levels down and this allows the information in the new extended shadow range to be retained, so nothing is lost and your footage will still have 14 stops of DR along with nice clean shadows and mid tones.
Is this all too difficult?
However, some people find that the need to correct the exposure prior to adding the LUT difficult or time consuming (I don’t know why, they just do. It takes no longer to add a compensated LUT than a normal LUT). Or some people find it difficult to get a good looking image from brightly exposed footage (probably because they are grading after the LUT has been applied). For these reasons Sony have added the ability to bake the EI change directly into the recording by shifting the gain of the recordings to match the selected EI.
Rec/Out EI Applied:
So now if you enable Rec/Out EI Applied any change you make to the cameras EI settings will now also be applied as a gain change to the recordings. If you set the EI to 1000, then the recordings will take place at 1000 ISO and not 2000 ISO. This means that you do not have to make any exposure corrections in post production, just apply a standard LUT.
You will loose some of your dynamic range:
The down side to this is that you are now changing the gain of the camera. Changing the gain away from 0dB will reduce the dynamic range and affect the recording range. So, for example if you wish to shoot at 1000 EI have Rec/Out EI Applied you will be recording with -6dB gain and an effective ISO of 1000. You will have 1 stop less of shadow range as the cameras effective sensitivity is being reduced by 1 stop but the sensors clip/overload point remains the same. So when you open the aperture to compensate for the lower sensitivity you will have the same shadow range as base, but loose one stop off the top. The images will have less noise, but there will be no additional shadow information and a reduction in highlight range by 1 stop, the DR will be 13 stops.
Another side effect of this is that the peak recording level is also reduced. This is because the cameras clipping point is determined by the sensor. This sensor clip point is normally mapped to the peak recording level and the cameras noise floor is mapped to the black level (you can’t see things that are darker than the sensors noise floor no matter what level of gain you use as the noise will always be higher than the object brightness).
If you reduce the gain of the signal this level must decrease as a result. This means that S-Log3 which normally gets to around ~94% will now only reach ~85%, the change to S-Log2 is even greater (S-Log3’s peak recording level will reduce by 8.9% for every stop down you go, S-Log2 will reduce by 12% for each stop you go down ).
Raising the EI/ISO will also reduce the dynamic range as the gain is applied after the sensor. So the sensors clip point remains the same, so the brightest highlight it handles remains fixed. Adding gain after this simply means the recordings will clip earlier, but you will get a brighter mid range, brighter (but not more) shadows and a noisier picture.
What happens in post with Rec/Out EI Applied?
In post production these range and peak level changes mean that while a standard LUT will result in a correct looking mid range (because middle grey and skin tones will be at “normal” levels) there may be some problems with highlights never reaching 100% in the case of a low EI/ISO. Or being excessively clipped in the case of a high EI/ISO. Remember LUT’s are designed to work over very specific ranges. So if the input to the LUT doesn’t reach the peak level the LUT is expecting then the output from the LUT will also be reduced. So often there will still be the need to do some additional grading of highlights prior to the application of the LUT, or the need to use LUT’s designed specifically for each ISO rating (and the design of these LUT’s is more complex than a simple exposure offset).
Is it really easier?
So while this new feature will simplify the workflow for some situations where an alternate ISO/EI has been used – because exposure correction in post production won’t be needed. It may actually make things more difficult if you have bright highlights or need to be sure that your finished video meets expected standards where highlights are at 100%. You will still need to do some grading.
I don’t recommend that you use it.
Personally I do not recommend that you use this new feature. There are plenty of exposure compensated LUT’s available online (I have lots here). Tweaking the exposure of log footage in post production isn’t that difficult, especially if you use a color managed workflow. My guess is that this is aimed at FCP-X users where FCP-X applies a default LUT as standard. In this instance footage shoot with an offset exposure will look over/under exposed while footage shoot with the EI/ISO Applied will look normal (except for the highlights). So on the face of things the workflow may appear simpler. But you are loosing dynamic range and surely the primary reason for shooting with log is to maximise the dynamic range and gain the greatest possible post production flexibility. This new feature reduces dynamic range and as a result reduces post production flexibility.
Of course just because I don’t recommend it’s use, it doesn’t mean that you can’t or shouldn’t use it if it works for you, just make sure you fully understand what it is doing.
Looks like I will have a busy day today upgrading cameras. As well as the re-release of Version 4 for the PXW-FS5, Sony have also released version 9 for the PMW-F5 and PMW-F55 cameras.
Version 9 adds some additional high speed frame rates when recording with the R7 recorder. It also adds extra parallel recording functions when using the CBK-WA100 Wireless Adapter and interestingly also adds Long GoP recording (XAVC-L) when shooting at 29.97fps and 59.94fps (sadly no 24,25 or 50fps Long GoP).
Please install Version 9 ONLY if your F5 or F55 camera has been successfully updated to Firmware Version 8 or higher. Otherwise, it is very important to note that for the F5 and F55 cameras with the serial numbers range listed in the Release Notes document, the user cannot perform the Upgrade to Version 9 and should contact your local Sony Service agent.
1) Frame rates for 4K and high frame rate recordings added.
72, 75, 90, 96, and 100 FPS have been added to the available values in “Frame Rate” when the AXS-R7 is attached to the PMW-F55.
2) Compatible with the “Parallel Rec” mode with CBK-WA100 attached.
The “Parallel Rec” mode enables synchronization with the same file name between the XAVC Proxy recording by using the wireless adapter CBK-WA100.
3) XAVC HD Long added (when the system frequency is set to 29.97 or 59.94).
Sony have just released firmware version 4.02 for the PXW-FS5. This firmware fixes the bugs found by Sony in the initial release of the version 4 firmware and includes the new Hybrid Log Gamma picture profile No. 10 along with a change to the cameras base ISO rating. I note that there is no mention of the problems with HLG clips in Adobe Premiere, so this will require further testing to see if this has been fixed.
Ver4.02 (Functionally, it is the same as the Ver.4.00.)
V4.02 fixes the following issue:
1. Video image may be recorded with short delay of 2 or 3 frames of audio in other recording modes than AVCHD.
2. When choosing [HLG1],[HLG2] or [HLG3] in the PictureProfile and CENTER SCAN in the CAMERA/PAINT menu, rebooting the camera may cause brightness and color shift.
Ver4.00(For your information)
1. Support for High Dynamic Range (HDR) by shooting in Hybrid Log-Gamma** (HLG) standard
2. Support for continuous 120fps High Frame Rate (HFR) recording in 1080p with CBKZ-FS5HFR (sold separately)
3. Option to change the minimum ISO sensitivity number to ISO 2000 from ISO 3200 when recording S-Log2/S-Log3
Just a few days after the release of firmware version 4.0 for the PXW-FS5 and Sony have taken it down from their websites and suspended the release until some time in early August.
So far no explanation has been given and understandably those that have already applied the update to their cameras are somewhat concerned as there is no way to roll back the firmware.
Clearly something is up, but I don’t know what. To halt the firmware release it must be something of some significance, but I don’t know what that might be (Update: One possibility is that it could be due to the issue with playback in Adobe Premiere).
I have sent emails to my contacts in Sony, but have yet to receive a reply. I know some of them are on holiday. If I hear anything I can share I will let you know.
In the mean time… I updated my FS5 on the 20th. I have been using it every day since then and so far nothing bad or unusual has happened. Nor have I heard any reports of anything that may be of concern. So I would not panic if you have already done the update. I doubt it does any harm to the camera.
The new version 4.0 firmware for the PXW-FS5 brings a new lower base ISO range to the camera. This very slightly reduces noise levels in the pictures. If you use “gain” in dB to indicate your gain level, then you shouldn’t have any problems, +6dB is still +6dB and will be twice as noisy as 0dB. However if you use ISO to indicate your gain level then be aware that as the base sensitivity is now lower, if you use the same ISO with version 4 as you did with version 3 you will be adding more gain than before.
Version 3 ISO in black, version 4 ISO in Blue
Standard 1000 ISO – 800 ISO
Still 800 ISO- 640 ISO
Cinegamma 1 800 ISO – 640 ISO
Cinegamma 2 640 ISO – 500 ISO
Cinegamma 3 1000 ISO – 800 ISO
Cinegamma 4 1000 ISO – 800 ISO
ITU709 1000 ISO – 800 ISO
ITU709(800) 3200 ISO – 2000 ISO
S-Log2 3200 ISO – 3200/2000 ISO
S-Log3 3200 ISO- 3200/2000 ISO
At 0dB or the base ISO these small changes (a little under 3dB) won’t make much difference because the noise levels are pretty low in either case. But at higher gain levels the difference is more noticeable.
For example if you often used Cinegamma 1 at 3200 ISO with Version 3 you would be adding 12dB gain and the pictures would be approx 4x noisier than the base ISO.
With Version 4, 3200 ISO with Cinegamma 1 is an extra 15dB gain and you will have pictures approx 6 time noisier than the base ISO.
Having said that, because 0dB in version 4 is now a little less noisy than in version 3, 3200 ISO in V3 looks quite similar to 3200 ISO in version 4 even though you are adding a bit more gain.
Sony have today released firmware version 4.0 for the PXW-FS5. This firmware adds the ability to directly output Hybrid Log Gamma via picture profile 10 for an instant HDR workflow. It also allows you to set the base ISO for S-log to 2000 ISO.
The PXW-FS5 and PXW-Z150 will both get a free firmware update some time around June that will add the ability to shoot using a special gamma curve called “Hybrid Log Gamma” or HLG.
In the case of the FS5 this will be added through an additional picture profile, PP10. As well as HLG the camera will also have the ability to record using Rec2020 color. As a result the camera will become compatible with the new Rec2100 standard for HDR television.
In addition the FS5 will get the ability to change the base ISO for S-Log2 and S-Log3 from 3200 ISO to 2000 ISO. This will help produce cleaner images that are easier to grade. On top of that via a paid firmware update you will be able to shoot continuously at up to 120fps in full HD, no need to use the Super Slow Motion memory cache function.
These are all great upgrades for this little highly versatile camera.
By selecting Picture Profile 10 the camera will shooting using Hybrid Log Gamma. If you were to plug the camera into an HDR TV that supports HLG then what you would see on the TV would be a HDR image with an extended dynamic range. This should give brighter more realistic highlights and a quite noticeable increase in overall contrast compared to SDR (Standard Dynamic Range). There will be no need to grade the footage to get a perfectly watchable vibrant HDR image. The real beauty of HLG (developed by the BBC and NHK) is that it is backwards compatible with normal SDR (Standard Dynamic Range) TV’s. So feed the very same signal into a conventional SDR TV and it will look just fine. Skin tones will be a touch darker than with Rec709 and it won’t be HDR, but it will be perfectly watchable picture and most people won’t realise it’s anything different to normal SDR TV.
So HLG provides a simple very fast, direct HDR workflow that is backwards compatible with SDR TV’s. As a result you don’t need any special monitors to shoot with it, you can just monitor with existing SDR monitors, although it would be beneficial to have an HDR monitor to check the HDR aspect of the signal. HLG isn’t designed to be graded, although a little bit of post production tweaking can be applied, just as with Rec709. Bottom line is it’s quick and easy, no special monitors or skills needed – simples.
If you want the very best possible HDR then you should shoot with S-Log2/S-Log3 or raw and then grade the material in post using an HDR capable monitor. But that takes time and large HDR monitors are not cheap (for a small monitor you could use an Atomos Flame or Inferno). The FS5 will give you the ability to work either way. HLG for simple and quick, S-Log for the best possible image quality.
Hopefully we will see HLG rolled out to other cameras in the near future.
Sony have released a firmware update for the PXW-FS7 that includes a fix for a problem that can in very rare situations cause the footage to be over exposed. There have been very few reported cases of the problem and it only occurs in the CineEI mode after a camera re-start. The new firmware update has been released to prevent it happening. It’s recommended that you update you camera to this new version, version 4.1.
By the time you get to read this you may already know almost everything there is to know about the PXW-FS7 II as it has been leaked and rumoured all over the internet. But I’m under a Sony NDA, so have had to keep quiet until now.
And I’ve been told off for calling it a MKII, the correct name is PXW-FS7 II. Sorry Mr Sony, but if you call it FS7 II, most people will think the “II” means MKII.
The FS7 camera is a mature product. By that I mean that the early bugs have been resolved. The camera has proven itself to by reliable, cost effective (amazing bang for the buck really). To produce great images and 4K files that are not too big. It can do slow-mo, 4K, 2K, HD and raw via an adapter and external recorder. As a result the FS7 is now one of the top choices for many broadcasters and production companies. It has become an industry standard.
The first and most important thing to understand about the FS7 II is that it does not replace the existing FS7. I would have preferred it if Sony had called this new camera the “FS7 Plus”. The “II” designation (which I take to mean MKII) implies a replacement model, replacing the MKI. This is not the case. The FS7 II is in fact a slightly upgraded version of the standard FS7 with a few hardware improvements. The upgrades make the MKII quite a lot more expensive (approx 10K Euros), but don’t worry. If you don’t need them, you can stick with the cheaper FS7 MK1 which remains a current model. In terms of image quality there is no real difference, the sensor and image processing in the cameras is the same.
So what are the changes?
The most obvious perhaps is the use of a square rod to support the viewfinder. This eliminates the all too common FS7 problem of sagging viewfinders. As well as switching to a square rod each of the adjustments for the viewfinder mounting system now has a dedicated clamp. Before if you wanted to slide the viewfinder forwards or backwards you undid a clamp that not only freed off the sliding motion but also controlled the tilt of the screen. So it was impossible to have the fore-aft adjustment slack for quick adjustments without the viewfinder sagging and drooping.
With the MkII you can have a slack fore-aft adjuster without the VF drooping. Overall the changes to the VF mounting system are extremely welcome. The VF mount on the Mk1 is a bit of a disaster, but there are plenty of 3rd party solutions to this. So you can fix the problems on a MKI without having to replace the camera. In addition, if you really wanted you could buy the FS7 II parts as spare parts and fit them to a MKI.
The Lens Mount.
The next obvious change is to the lens mount. The FS7 MK1 has a normal Sony E-Mount where you insert the lens and then twist it to lock it in to place. The FS7 II mount is still an E-Mount but now it has a locking collar like a PL or B4 mount. This means that you have to insert the lens at the correct angle and then you turn a locking ring to secure the lens. The lens does not rotate and once locked in place cannot twist or turn and has no play or wobble. This is great for those that use a follow focus or heavier lenses. BUT the new locking system is fiddly and really needs 2 hands to operate. In practice you have to be really careful when you mount the lens. It’s vital that you align the white dot on the lens with the white dot on the mount before you twist the locking ring.
As you rotate the locking ring a small release catch drops into place to prevent the ring from coming undone. But if the lens isn’t correctly aligned when you insert it, the lens can rotate with the locking ring, the catch clicks into place, but the lens will just drop out of the mount. When inserted correctly this mount is great, but if you are not careful it is quite easy to think the lens is correctly attached when in fact it is not.
Variable ND Filter.
Behind the lens mount is perhaps the most significant upgrade. The FS7 II does away with the rotating filter wheel and replaces it with the variable ND filter system from the FS5. I have to say I absolutely love the variable ND on the FS5. It is so flexible and versatile. You still have a 4 position filter wheel knob. At the clear position the ND filter system is removed from the optical path. Select the 1, 2 or 3 positions and the electronically controlled ND filter is moved into position in front of the sensor. You then have 3 preset levels of ND (the level of which can be set in the camera menu) or the ability to smoothly control the level of ND from a dial on the side of the camera. Furthermore you can let the camera take care of the ND filter level automatically. The real beauty of the variable ND s that it allows you to adjust your exposure without having to alter the aperture (which changes the depth of field) or shutter (which alters the flicker/cadence). It’s also a great way to control exposure when using Canon lenses as the large aperture steps on the Canon lenses can be seen in the shot.
Another physical change to the camera is the use of a new arm for the handgrip. The new arm has a simple wing-nut for length adjustment, much better than the two screws in the original arm. In addition you can now use the adjuster wing-nut to attach the arm to the camera body and this brings the hand grip very close to the body for hand held use. This is a simple but effective improvement, but again 3rd party handgrip arms are available for the base model FS7.
The viewfinder loupe has seen some attention too. The standard FS7 loupe has two fiddly wire clips that have to be done up to secure the loupe to the viewfinder. The MK2 loupe has a fixed hook that slips over the top lug on the viewfinder so that you now only need to do up a single catch on the bottom of the loupe. It is easier and much less fiddly to fit the new loupe, but the optics and overall form and function of the loupe remain unchanged.
As well as the loupe the FS7 II will be supplied with a clip on collapsable sunshade for the viewfinder. This is a welcome addition and hand held shooters will no doubt find it useful. When not in use the sunshade folds down flat and covers the LCD screen to protect it from damage.
The number of assignable buttons on the FS7 II is increased to 10. There are 4 new assignable button on the camera body where the iris controls are on the original FS7. The Iris controls are now on the side of the camera just below the ND filter wheel along with the other ND filter controls. These buttons are textured to make them easier to find by touch and are a very welcome addition, provided you can remember which functions you have allocated to them. It’s still a long way from the wonderful side panel LCD of the PMW-F5/PMW-F55 with it’s 6 hotkeys and informative display of how the camera is configured.
Tucked under the side of the camera and just above the power switch there is now a small green power LED. The original FS7 has no power light so it can be hard to tell if it’s turned on or not. This little green light will let you know.
The last hardware change is to the card slots. The XQD card slots have been modified to make it easier to get hold of the cards when removing them. It’s a small change, but again most welcome as it can be quite fiddly to get the cards of an FS7.
A further change with the FS7 II is the addition of Rec-2020 colorspace in custom mode. So now with the FS7 II as well as Rec-709 colorspace you can also shoot in Rec-2020. I’m really not sure how important this really is. If Sony were to also add Hybrid Log Gamma or PQ gamma for HDR then this would be quite useful. But standard gammas + Rec2020 color doesn’t really make a huge amount of sense. If you really want to capture a big range you will probably shoot S-Log2/3 and S-Gamut/S-Gamut3.
So – the big question – is it worth the extra?
Frankly, I don’t think so. Yes, the upgrades are nice, especially the variable ND filter and for some people it might be worth it just for that. But most of the other hardware changes can be achieved via 3rd party accessories for less than the price difference between the cameras.
With all the financial turmoil going on in many countries right now I think we can expect to see the cost of most cameras start to rise, including the original (but still current) FS7. This may narrow the price gap between the FS7 MKI and FS7 MK2 a little. But an extra 3000 Euros seems a high price to pay for a variable ND filter.
In some respects this is good news as it does mean that those that have already invested in an FS7 MKI won’t see that investment diminished, the MK1 is to remain a current model alongside the souped up MK2 version. Now you have a choice, the lower cost workhorse FS7 MK1 or the MK2 with it’s variable ND filter and revised lens mount.
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