Category Archives: PXW-FS7

cameras, PMW-F55, PXW-FS5, PXW-FS7, Review, Uncategorized

Which to buy F5, FS7 or FS5?

September 23, 2015 alisterchapman 40 Comments

I’m only going to look at these 3 cameras in this article. Of course there are also many others to choose from these days, so do remember to look at other options from other manufacturers too.

I like Sony cameras and I’m not going to pretend otherwise. But I have to say that I really think Sony are on a roll right now. The PMW-F55, F5, FS7 and the FS5 are all great cameras. Sure there are cameras with more pixels and maybe more resolution that may or may not need full frame lenses. There are cheaper cameras and all kinds of other options, but these cameras are all good workhorse cameras that should prove reliable in the field and give years of good service (although with technology moving so fast you might not keep it for that many years).

So which to choose?

First of all YOU need to decided exactly what you need or want from your camera. It’s also good to separate out “What You Need” from “What You Would Like”. For example if you are on an extrmely tight budget you will need affordable media while you might also like the idea of being able to shoot continuously at 180fps. Sometimes the two are not compatible with each other, so you should go with the need rather than the like.

If you’re running a business then you should also ask yourself that all important question: Will the more expensive camera make me more money?

Yeah, yeah, I know…. for some of us they are our babies, our toys and it is nice to have the best toys. But don’t bankrupt yourself buying something you can’t afford or don’t really need.

I’ve included a table of differences between these cameras below which I suggest you take a look at.

The FS5 is clearly exceptional value for the money. It does 80-90% of what the other cameras can do. If you’re only ever going to shoot in HD and don’t want to use Cine EI or LUT’s then really the FS5 is probably all you’ll ever need. It’s small, compact, lightweight and has some great features for shooting on the move like the variable ND filter and face tracking autofocus (with a Sony lens). What it lacks however is 10 bit 422 recording in UHD (even the output is only 8 bit in 4K). So if you want to shoot in UHD (3840 x 2160 TV type 4K) then the amount of grading you can do will be a little restricted. It’s also unlikely to meet broadcast standards as a main camera for UHD production. Further more it also lacks a proper CineEI mode for S-log2/S-Log3 with LUT’s on the outputs. This isn’t the end of the world for occasional log shoots but if you plan on shooting a lot of log then all of the other cameras will be easier to use and it will be easier to get the best results without having to mess about with external monitors with LUT’s, grey cards or light meters. It’s not so much the lack of LUT’s (there are viewfinder only gamma LUT’s) but the inability to monitor at anything other than the native ISO which makes it tougher to offset your exposure in the way you can with CineEI. One final and very important note about the PXW-FS5 is that the XAVC-L codec is very processor intensive. You will need a really good computer to do anything more than cuts only editing. The XAVC-I codec in the FS7, F5 and F55 is much easier to work with, but the files are bigger. SO while the FS5 may save you a lot in terms of media costs, you will need to spend money on a high spec, up to date PC or Mac if you don’t already have one.
The FS5 can be upgraded with a raw option that outputs 12 bit linear raw. This raw output can be recorded on an external recorder and in doing so bypasses many of the FS5’s internal limitations such as only being able to have a single video out OR monitoring signal when recording internally. The raw files are very, very big but you can convert the raw to 10 bit ProRes before recording on the external recorder and this does provide image quality close to the 10 bit internal recordings of the other cameras. But, by the time you add on the cost of the raw option, a raw recorder plus mounting, batteries and media, the price difference between the FS5 and FS7 is very small.

The FS7 really does sit in the middle of this bunch, both in terms of cost and features. It’s a bigger camera that’s tough to hand hold for long, really it’s a shoulder camera. It can do 95% of what the F5 and F55 can do and some things the F5 and F55 can’t. The use of the Sony E-Mount means you can add low cost Sony power zoom lenses or control Canon lens apertures via low cost and compact adapters, this is much harder (and more expensive) on the F5 and F55. Adapters for Canon lenses for the FS5 and FS7 start at $50 while for an F5/F55 adapter prices start at $800. In addition on the E-Mount cameras you can add speedbooster adapters for use with full frame lenses giving a wider field of view and 1 stop faster aperture.

The FS7 has a true CineEI mode for log shooting and can take custom LUT’s. It’s even possible to add the XDCA-FS7 adapter to get internal ProRes recording and a 12 bit raw output, but it is only 12 bit raw which although very nice, is a lot different to the far superior 16 bit raw from the F5 and F55. When using the XDCA-FS7 extension unit it’s also worth remembering that you need to use bulkier and generally more expensive V-Mount batteries.

The FS7 II adds an improved locking E-Mount for greater lens security and stability. The locking mount is also stronger than the standard mount so it will cope better with heavier lenses. In addition the FS7 II also has a variable ND filter. The variable ND allows you to do your fine exposure adjustments with the ND filter allowing the aperture to be used as a depth of field control.

The FS7 is great for short film production, it offers image quality that is good enough for a feature film (I don’t think a movie viewer would detect any deficiency in the pictures from a well setup and well used FS7, even on a big screen). The XQD media while not as cheap as the SDXC cards used by the FS5 is reasonably affordable. There are a few things that might frustrate some users, in particular it is a very sophisticated camera with lots of options and there is no easy way to see exactly how the camera is configured without interrupting the live image in the viewfinder either by going into the menus or using the status pages. If you do use a lot of the cameras features and modes, you will spend a lot of time in the menu system.

One of the great things about the F5 or the more expensive PMW-F55 is the side display panel as this allows you to see how the camera is setup, which LUT you’re using, frame rates, audio levels and so much more without having to resort to the menus. You can also control most of the day to day functions that you will use from this side panel using the option menu and that makes the camera far easier and faster to use than the FS7. The F5/F55 lens mount is much stronger than the E-mount on the other cameras, so it’s better suited to heavy cinema lenses and large super 35mm zoom lenses. You can also adjust the back focus so that it works well with large cinema zooms. For exceptionally good HD images you have the extremely high quality SStP (HDCAM SR) codec. On top of that there is also a higher quality version of XAVC called XAVC Class 480. This brings some respectable improvements in image quality with only a small increase in file size, whether shooting in HD, UHD or 4K. For the very best 4K you have a full 16 bit linear raw option when you dock the R5 raw recorder or with the R7 raw recorder you can choose between raw or 16 bit linear X-OCN. The R7 can shoot record in 4K at upto 120fps with the F55 for amazing slow motion. X-OCN offers images with quality comparable to 16 bit raw but with file sizes smaller than ProRes and not much bigger than XAVC.

Because the recorder docks directly to the camera it is much easier to use than the external cabled option for the FS7 or FS5. In addition the R5 and R7 recorders use special visually loss less processes to considerably reduce the file sizes and make the files very easy to handle. So if you want to shoot a lot of raw for the ultimate in post production flexibility the the F5/F55 are the obvious choice, although this comes at a price.

So, in summary I would suggest:

Buy the PXW-FS5, unless:

You need to shoot 4K DCI (4096×2160). You are going to shoot primarily using S-Log2/3 or do a lot of grading to your UHD footage or are planning to make broadcast ready UHD programs. Unless you need to shoot continuously in UHD faster than 30fps or faster than 60fps in HD. Need timecode in/out or genlock (needs XDCA-FS7 adapter on FS7). In this case I suggest you buy the FS7 unless:

You are going to shoot primarily in raw or need the convenience of the side status display (don’t underestimate how useful this can be). Unless you need to shoot anamorphic, with SStP (HDCAM SR) or need a 4K HDSDI output. Want integrated Genlock and Timecode In/Out. In this case buy the PMW-F5 (with 4K option?) unless:

You need an extra wide colour gamut and a global shutter, in which case the PMW-F55 is king of the hill.

[table id=1 /]

PMW-F55, PXW-FS7, Uncategorized

Why can’t I have LUT’s in S&Q on the F5, F55 and FS7?

September 22, 2015 alisterchapman 3 Comments

This is an often asked question about the Sony PMW-F55, F5 and FS7 cameras.

There are several modes and options where the LUT’s are not available or restricted to either all on or all off. That is to say that you can’t have LUT’s on for just the viewfinder or just the SDI output, you can only have the LUT’s applied everywhere, including the internal recordings which isn’t normally desirable.

The problem appears to stem from a limitation on the number of video processing units within the cameras. Certain functions within the camera require a video processor. Functions such as adding LUT’s, reading the sensor at high speed for S&Q, providing a 4K output on the SDI or HDMI each appear to require dedicated processing and as there are on so many processors available this limits some of the options we have. I don’t know of the exact architecture of the cameras but the diagrams below represent what I think is going on and why we have limited LUT options in certain modes. Please note that there are a lot of other video processes going on in the camera and this is a very simplified overview of what I think is more or less going on.

Normal operation, each output can choose between the S-Log signal path or the separate LUT + EI signal path.

S&Q Motion: As there are only enough processors for a single path you have to choose between S-log only or LUT + EI only.

When outputting 4K a video processor is needed to split the output signal across multiple HDSDI's or drive the 4K HDMI. So again, you can only have S-Log or LUT's, you can't have both. — When outputting 4K a video processor is needed to split the output signal across multiple HDSDI’s or drive the 4K HDMI. So again, you can only have S-Log or LUT’s, you can’t have both.

One way around the problem of not having LUT’s in S&Q is to use the viewfinders high contrast mode (F5/F55 only). To enable this mode you must assign it to one of the assignable buttons. The high contrast mode applies a rec-709 like gamma curve to the viewfinder image so you will have almost exactly the same contrast and brightness as you would using the 709(800) LUT. As it’s only a gamma correction it will be less saturated than the LUT, but it’s still very useful for judging exposure. Remember if you are not using or unable to use the LUT’s, the waveform and zebras will be measuring the S-log signal, even if you have the VF High Contrast mode enabled.

Another way around this issue is to use a 3rd party viewfinder that can add it’s own LUT’s. Then simply leave the LUT’s off in the camera and use the VF to apply a LUT. The Zacuto Gratical is great for this as you can not only add the LUT in the VF but also send the LUT out over the VF’s SDI or HDMI output. If you want EI then you will need to load some exposure compensated LUT’s directly to the VF and use the appropriate LUT for each EI.

PXW-FS7, Videos

PXW-FS7 Training Videos.

September 13, 2015 alisterchapman Leave a comment

I’ve done a whole series of training films for Sony on the PXW-FS7. This is the first in the series and covers the basic setup of the camera. Later videos include Custom Mode and Gamma Curves, CineEI, S&Q and workflow. These should all be published over the coming weeks.

http://www.sony.co.uk/pro/article/broadcast-products-camcorders-pxw-fs7-training-videos-tips

PXW-FS7, Review, Uncategorized

My PXW-FS7. Add-ons and configuration.

May 31, 2015 alisterchapman 14 Comments

I though I would share a few pictures of how I like to configure my Sony PXW-FS7.

I mainly use the FS7 for run and gun type shooting, so portability and ease of use is very important.

So here is the overall package:

One of the key parts to the whole rig is the Vocas base plate. Vocas offer a couple of different base plate options. The one I have is shaped to follow the contour of the base of the camera so keeps the center of gravity as low as possible. It’s also compatible with a standard VCT quick release tripod plate so a great way to get the camera on and off a tripod really quickly. The shoulder pad slides forwards and back so you can adjust the balance point a bit, but the shape of the FS7 does tend to mean that the rig will be a bit front heavy (unless you add rear rods and a battery as I do). Attached to the left side of the base plate are a couple of Vocas lightweight arm sections and a beautiful wooden hand grip. I can’t recommend the Vocas hand grips enough, when you are out shooting all day a comfy hand grip makes a big difference.

A really weak area of the Sony FS7 is the viewfinder attachment. Fortunately Vocas have a solution for that.

The Vocas FS7 viewfinder arm can be attached to the existing Sony 15mm rod that the original viewfinder arm attaches to, or it can be attached to a supplementary 15mm rod attached to the Vocas top cheese plate (you’ll see that in a picture further down the page). The great thing about this Vocas VF arm is that you can slide the viewfinder fore and aft or move it up and down without the viewfinder drooping as it does with the original mount. This helps maintain a level horizon on the viewfinder screen which is really important when shooting handheld. A droopy viewfinder can easily lead to shots that are tilted over as it is very easy to miss that the horizon in the viewfinder isn’t level.

On the right side of my FS7 you can see that I have a Shape hand grip arm. Vocas make a very similar one if you want to keep everything one brand, but I got given this shape arm to test while I was in Canada. It has a big red quick adjust button that allows you to alter the angle of the arm as well as a single thumb screw to alter the length. This is so much nicer than the standard Sony arm. In addition the combination of the wider Vocas base plate and Shape arm means that the remote handgrip arm now no longer fouls the tripod head in the same way that the standard Sony one does. The microphone mount is one from Alphatron that attaches to a 15mm rod and the microphone is a Sony stereo microphone (from one of my F3 cameras). The tripod shown in these pictures is a Miller Compass 15 head on a set of their really incredible “Solo” carbon fiber legs. This is a very light weight system, great for travelling, yet still stable and robust. The legs can extend to well above head hight and collapse down to just a few inches above the ground.

On the top of the camera you can see my trusty Convergent Design Odyssey 7Q monitor/ProRes recorder as well as an Alphatron Tristar 4 LED light.

While the Tristar 4 doesn’t look all that different from many of the other LED lights on the market it is quite a remarkable little light. For a start the quality of the light output really is quite exceptional. When tested by Alan Roberts it scored 86 on the TLC Index. TLCI index measures the spectral performance of a light in a way that determines how it will perform for video and television applications. This takes into account things like green shifts and other color issues common with LED and fluorescent lights that CRI does not measure very well. A score of 86 is very good, especially for a compact light at this price point. It’s called a TriStar because each of the LED’s actually has 3 emitters which helps provide a very uniform yet high power light output.

Another great thing about the Tristar 4 is it’s build quality. This light is built to last. It’s is very tough and can be dropped on a concrete floor or bashed into a door frame while walking through it with the camera on your shoulder without breaking. The Tristar 4 has variable intensity and color balance and can be powered from standard Sony NP-F type batteries. The light comes with a D-Tap cable and a ball head for camera mounting. I choose to power it from a D-Tap outlet on my PAG battery system.

I love the PAGLINK battery system! I have them mounted on a V-Mount plate attached to a pair of 15mm rails on the rear of the camera. This helps balance the camera on my shoulder much better. If you are using the FS7 extension unit then the PAGLink batteries will go directly on to this. I’ll be writing more about these innovative batteries soon, but the key feature is the ability to stack several batteries together to produce a higher capacity pack or to charge several batteries at once with a single charger. Each battery has a sticker indicating that it complies with current regulations for hand carrying Li-Ion batts on aircraft and a copy of the test certificate is included with each pack. If you need to power accessories such as the Tristar 4 video light or the Convergent Design Odyssey then you can clip on the PAGLink Powerhub which can be configured with up to 4 D-Tap or Hirose connectors. It can also charge your phone via a USB socket on the bottom.

For lenses I am typically using either a Commlite EF adapter or Metabones Speedbooster EF adapter. I have a large selection of EF Mount lenses from Sigma, Tamron and Samyang.

As most of these lenses are quite small I don’t need a giant matte box. So to keep the weight down I use a Vocas MB215 matte box. This has a single rotating tray for up to 4×6 filters plus a clever holder for a 4×4 filter in the front of the hood. One thing I really like is the 16×9 shaped aperture at the front of the Matte Box. This really helps reduce flare in the lens without having a big flag or barn doors which often get in the way when shooting run and gun. You can attach the matte box directly to the lens as a clip-on, but I prefer to mount it on rails. The rails at the front of the camera help protect the lens from bumps and knocks when putting it down on the ground.

The final part to show you is the Vocas top cheese plate. If you look at the front of the cheese plate you will also see the additional mounting place for an alternate viewfinder attachment rod. The nice thing about this cheese plate is that you can install it without removing the handle, so you retain the cameras GPS and hotshoe functions. There are plenty of mounting points for accessories with both 1/4″ and 3/8″ threaded holes. The underside of the cheese plate is mostly hollow so it adds very little weight.

So there you have it. A quick run down of what my PXW-FS7 like to wear when it’s going out on a date.

Don’t forget I still have one place left for my wild weather workshop in June. Click here for details.

PMW-F55, PXW-FS7, Scene Files and Luts

WYSIWYG LUT’s to play with.

May 6, 2015 alisterchapman 5 Comments

Here are a couple of high dynamic range WYSIWYG LUTs to play with. These are for the F5/F55/FS7. The camera should be set to SGamut3.cine/S-log3 and the EI should be set to the base EI (2000EI F5/F55 and 1250 EI on the F55).

WYS-ACALW1 will give almost the full dynamic range of the camera with lots of highlight roll off. It’s created to capture an extremely large dynamic range to help cope with very bright scenes such as sunny exteriors. Skin tones should be around 55-65% for the best results so zebras set to around 60%.

WYS-ACHGC1 will give a 12.5 stop dynamic range. It has more contrast than ALW1 but a bit less dynamic range. The colour palette is based on a Canon type look. Skin tones should be around 60-70% so zebras set around 65%.

Let me know what you think.

Alisters-WYSIWYG-LUTS1

If you find the LUT’S useful, please consider buying me a beer or a coffee.

A7, PXW-FS7, Scene Files and Luts

S-Log2 to Canon LUT’s for the FS7/F5/F55/A7s

April 28, 2015 alisterchapman 3 Comments

More LUT’s for you to play with!

These LUT’s are primarily designed for the PMW-F5 and PXW-FS7 but they should also work with the PMW-F55 and A7s. You need to shoot in SGamut/S-Log2.

There are two types of LUT. The AC-Canon-Log versions will output Canon C-Log with Canon wide range colorspace while the AC-Canon-Look versions output using Canons wide dynamic range gamma. The C-Log versions should be a close match to a C300 shooting C-Log but the footage will need some grading as it is still log. The Canon Look versions will have better contrast and need less grading but have less dynamic range.

I don’t have a C300 to hand to test these, so I am not sure how close they are and it will vary a little depending on whether you use an FS7, A7s or F5/F55.

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.

Alisters S-log2 to Canon Luts

If you find the LUT’S useful, please consider buying me a beer or a coffee.

PMW-F55, PXW-FS7, Scene Files and Luts

LUT set for S-Log2 in Custom Mode for F5/F55/FS7

April 25, 2015 alisterchapman 3 Comments

Quite a lot of people like to use S-Log2 or S-Log3 in custom mode. I’m not a fan of this method myself, I prefer to use CineEI, but for some people using S-Log2 or S-Log3 in custom works for them. If you use S-Log2/3 in custom mode then you are working with 709 color space, so if you want to use a LUT in post you need a LUT designed for this combination. So I have created two sets, one set for S-Log2 and one set for S-Log3. The LUT’s include over and under exposure compensation and you can download them here.

NORMAL: Indicates correct Slog2 exposure, middle grey at 32% and white at 59%, for SLog3 use middle grey 41%, white 61%.

1OVER etc indicates that the LUT will compensate for footage one stop over exposed.

If you are exposing the Slog2 so that skin tones are in the 60-70% region you will most likely need to use the 2 or 3OVER LUT’s.

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.

Alisters Custom mode SLog2 to 709(800) LUTs

Alisters Custom Mode Slog3+709 to 709(800) Luts

If you find the LUT’S useful, please consider buying me a beer or a coffee.

cameras, cinematography, lenses, PMW-F55, PXW-FS5, PXW-FS7, Shooting Tips, Technology

More info on CMOS sensor grid artefacts.

April 20, 2015 alisterchapman Leave a comment

Cameras with bayer CMOS sensors can in certain circumstances suffer from an image artefact that appears as a grid pattern across the image. The actual artefact is normally the result of red and blue pixels that are brighter than they should be which gives a magenta type flare effect. However sometimes re-scaling an image containing this artefact can result in what looks like a grid type pattern as some pixels may be dropped or added together during the re scaling and this makes the artefact show up as a grip superimposed over the image.

The cause of this artefact is most likely off-axis light somehow falling on the sensor. This off axis light could come from an internal reflection within the camera or the lens. It’s known that with the F5/F55 and FS7 cameras that a very strong light source that is just out of shot, just above or below the image frame can in some circumstances with some lenses result in this artefact. But this problem can occur with almost any CMOS Bayer camera, it’s not just a Sony problem.

The cure is actually very simple, use a flag or lens hood to prevent off axis light from entering the lens. This is best practice anyway.

So what’s going on, why does it happen?

When white light falls on a bayer sensor it passes through color filters before hitting the pixel that measures the light level. The color filters are slightly above the pixels. For white light the amount of light that passes through each color filter is different. I don’t know the actual ratios of the different colors, it will vary from sensor to sensor, but green is the predominant color with red and blue being considerably lower, I’ve used some made up values to illustrate what is going on, these are not the true values, but should illustrate the point.

In the illustration above when the blue pixel see’s 10%, green see 70% and red 20%, after processing the output would be white. If the light falling on the sensor is on axis, ie coming directly, straight through the lens then everything is fine.

But if somehow the light falls on the sensor off axis at an oblique angle then it is possible that the light that passes through the blue filter may fall on the green pixel, or the light from the green filter may fall on the red pixel etc. So instead of nice white light the sensor pixels would think they are seeing light with an unusually high red and blue component. If you viewed the image pixel for pixel it would have very bright red pixels, bright blue pixels and dark green pixels. When combined together instead of white you would get Pink or Blue. This is the kind of pattern that can result in the grid type artefact seen on many CMOS bayer sensors when there are problems with off axis light.

This is a very rare problem and only occurs in certain circumstances. But when it does occur it can spoil an otherwise good shot. It happens more with full frame lenses than with lenses designed for super 35mm or APSC and wide angles tend to be the biggest offenders as their wide Field of View (FoV) allows light to enter the optical path at acute angles. It’s a problem with DSLR lenses designed for large 4:3 shaped sensors rather than the various wide screen format that we shoot video in today. All that extra light above and below the desired widescreen frame, if it isn’t prevented from entering the lens has to go somewhere. Unfortunately once it enters the cameras optical path it can be reflected off things like the very edge of the optical low pass filter, the ND filters or the face of the sensor itself.

The cure is very simple and should be standard practice anyway. Use a sun shade, matte box or other flag to prevent light from out of the frame entering the lens. This will prevent this problem from happening and it will also reduce flare and maximise contrast. Those expensive matte boxes that we all like to dress up our cameras with really can help when used and adjusted correctly.

I have found that adding a simple mask in front of the lens or using a matte box such as any of the Vocas matte boxes with eyebrows will eliminate the issue. Many matte boxes will have the ability to be fitted with a 16:9 or 2.40:1 mask ( also know as Mattes hence the name Matte Box) ahead of the filter trays. It’s one of the key reason why Matte Boxes were developed.

Note the clamp inside the hood for holding a mask in front of the filters on this Vocas MB216 Matte Box. Not also how the Matte Box’s aperture is 16:9 rather than square to help cut out of frame light.

You should also try to make sure the size of the matte box you use is appropriate to the FOV of the lenses that you are using. An excessively large Matte Box isn’t going to cut as much light as a correctly sized one. I made a number of screw on masks for my lenses by taking a clear glass or UV filter and adding a couple of strips of black electrical tape to the rear of the filter to produce a mask for the top and bottom of the lens. With zoom lenses if you make this mask such that it can’t be seen in the shot at the wide end the mask is effective throughout the entire zoom range.

Many cinema lenses include a mask for 17:9 or a similar wide screen aperture inside the lens.

PXW-FS7, Review

Tested: Lexar XQD cards in the PXW-FS7 and PMW-F5

March 5, 2015 alisterchapman 36 Comments

IMPORTANT UPDATE: There are two different speeds of S series cards. You should only use the faster E stream cards. You can tell which is which by the part number. QDS64E and QDS32E are second generation fast S series. Any other S series is a slower first generation S card and should be treated as H Class cards.

DO NOT USE THE NEWER 2933x CARDS THESE DO NOT WORK WITH THE FS7.

It was brought to my attention at the BVE show last week that Sony XQD cards were in short supply. This is probably due to the run away success of the PXW-FS7. More cameras sold means more media required.

So I decided to test out a Lexar XQD card in my PXW-FS7 and in my PMW-F5 (via a QDA-EX1 SxS to XQD adapter).

The good news is that it appears to work just fine, which shouldn’t really be a surprise as the Lexar cards are bonafide XQD cards. It’s also worth noting at this point that you don’t have to use the latest and greatest, extremely fast “G” series XQD cards from Sony. You can also use the slower H, N and S series cards. Although I personally would stick to just the faster G and S series cards as these can be used for all modes and frame sizes.

G Series – 400MB/S OK All Frame Rates/Modes.

S Series (QDS64E and QDS32E only) – 180MB/S OK All Frame Rates/Modes.

N Series – 125MB/S OK for XAVC-L all frame sizes/rate. XAVC-I HD up to 30fps plus 24fps 3840×2160. OK for Mpeg2, No S&Q, No ProRes or DNxHD.

H Series – 125MB/S OK for XAVC-L HD up to 60fps. No XAVC-I, No 4k/UHD, No S&Q. No ProRes/DNxHD

Lexar 1100x -168MB/S – Not tested, but should be OK, as Sony H series, maybe N series.

Lexar 1333x – 200MB/S – Tested all modes and frame rates.

Lexar have two classes of card a slower 1100x – 168MB/s card and a faster 1333x – 200MB/s card. For my tests I chose the faster 1333x card as this wasn’t much more expensive than the slower card and on paper at least matches or betters the Sony S series cards which can be used for all modes and frame rates. The 1100x card should also work just at least as well as an H series card, maybe N series, but I have not tested one and would recommend testing before use.

I tested the card across a large range of frame rates and resolutions going all the way up to UHD 60fps on the FS7 and SStP on the F5 as well as S&Q all the way to 180fps. I had no errors or other major problems. I did notice in the F5 that the it takes a little longer for the red light above the record slot to return to green at the end of a recording. While the slot light is red you cannot start a new recording so you do need to be aware that you may have a momentary delay before you can record the next clip.

I purchased the Lexar 1333x card via Amazon in the UK and it cost me £127 inc VAT for a 64GB card, which is quite a bit cheaper than a Sony G series card (currently around £220 in VAT). So the Lexar cards offer a perfectly good alternative to the Sony cards at a lower cost with only a slight decrease in off-load speed. As well as the PMW-F5/F55 and PXW-FS7 I see no reason why these cards should not also work in the PMW-Z100, FDR-AX1 or via the QDA-EX1 adapter in the PMW-200, PXW-X160, X180 and X200, but I have not tested this.

I can’t comment on long term reliability as I’ve only had the card a couple of days. I see no reason why the Lexar cards should last as long as the Sony cards. Heck looking at a Sony G series card and the Lexar card side by side the materials appear to be identical, it looks to be exactly the same plastic (even the texturing is the same) and the same brushed metal. The Sony card is marked as made in Japan and the Lexar card as a product of Taiwan.

CARD READERS.

The new Sony G series cards have a different interface to the older Sony XQD cards and the Lexar cards. Currently when you buy a G series card it comes with a USB3 card reader. This reader will ONLY read G series XQD cards.

You can buy USB3 card readers for the other XQD cards for around £25.00. These readers will normally work with any XQD card, including the G series. But when you use a G series card in the non G series readers you get a reduced read speed of up to 168MB/s, which is fast, but not as fast as the dedicated G Series reader.

cameras, PXW-FS7, Scene Files and Luts

Scene Files (Picture Profiles) for the PXW-FS7

February 19, 2015 alisterchapman 30 Comments

One of the great features of the PXW-FS7 is the ability to be able to change the look of the images when shooting in Custom Mode. You can change many settings including the gamma curve, matrix and sharpness setting. The gamma settings change the contrast, the matrix the color and the detail and aperture settings change how sharp the pictures look.

Once you’ve made some changes you can save these settings as a Scene File using the File menu on an SD card.

I am a big fan of Sony’s Hypergammas. There are 6 in the FS7. Hypergamma 3 is very good for getting a nicer highlight roll off when shooting in lower light situations. Hypergamma 4 is good for brighter scenes and Hypergammas 7 and 8 really extends the cameras dynamic range and handles high contrast scenes very well, but can look a little flat so will need some tweaking in post production. In fact all the hypergammas need a bit of a tweak in post as to get the very best from them you should expose your shots about 1 stop darker to keep skin tones etc out of the upper compressed part of the curve and then bring the brightness back up again in post.

Anyway here are some scene files for you to download and install in the camera.

AC-NEUTRAL-HG3 This is for flatter scenes, it provides a natural look with some yellow/green removed to provide a more neutral look.

AC-NEUTRAL-HG4 This is for brighter or high contrast scenes, it provides a natural look with some yellow/green removed to provide a more neutral look.

AC-FILMLIKE1 A high dynamic range film like look.

AC-FILMLIKE2 A high dynamic range film like look with an increased blue and red response with decreased yellow/green. A little more block-buster like.

AC-VIBRANT-HG3 A vivid matrix with good dynamic range. Good for punchy direct to air images where strong colours are wanted.

AC FS7 Scene Files, set of 5.
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