Tag Archives: Cinema Line

Notes on the FX3 version 2 update.

I’ve been getting a lot of questions about the new FX3 firmware update. So, I thought I would put my answers to the questions here in one place. But before I get to my notes on what the firmware does, I will just say that if you are a Mac user, I recommend trying to borrow a PC to do the update. It is much much easier to do the update with a PC than a Mac! The firmware update is well worth doing. At first it might appear that the update makes it impossible to do some things the camera did before, but, if you follow my notes you will see that this is not actually the case.

What is the base ISO for S-Log3 in version 2? In the CineEI and CineEI Quick modes the base ISO defaults to 800/12800 ISO. This is different to before, but brings the FX3 in line with the other Sony Cinema line cameras and most other current digital cinema cameras. When not using the dedicated CineEI modes the base ISO for S-Log3 seems to revert back to 640 ISO as indicated by the way the camera adds a pair of bars, above and below the ISO indication from 500 ISO and down, to warn that you are below the native ISO. 

Help, I can’t output 4K/UHD and record 4K/UHD internally while using the CineEI modes! It takes a lot of extra processing power to apply the LUT’s  to the preview image while recording S-Log3. Unfortunately this seems to mean that there is no longer enough processing power to both record internal 4k/UHD and output 4K/UHD and have LUT’s at the same time. You can record internal 4K and 4K output raw, that’s one option. And you can record 4K and output HD. But if you need to record 4K/UHD internally and output 4K/UHD S-log3 you will need to come out of the cameras log mode.

How do you shoot S-Log3 when not using the Log modes? When you are not using the Log modes you will find that the old S-Log3 and S-Log2 picture profiles (7,8 and 9) are missing. However you can still go into any of the other picture profiles and change the gamma to S-Log3 and the color mode to S-Gamut3.cine or S-Gamut3. S-Log2 has been removed and is no longer available, but as S-Log2 is incapable of recording the full dynamic range of the FX3 this isn’t a big deal. Shooting S-Log3 this way allows you to record 4K/UHD internally and output 4K/UHD over the HDMI as in the previous version 1 firmware. I suspect that PP7/8/9 were removed simply to encourage users to use the dedicated log modes where everything is fully optimised for log rather than using a picture profile where any ISO can be used or other settings changed that may degrade the log.

What does “Embed LUT LUT File” do? When Embed LUT File is enabled the camera stores the LUT used in the “Private”, “M4ROOT”, “General” metadata folder on the recording card. In addition metadata about the LUT and the chosen exposure index is saved in the clip file. The LUT is NOT BAKED IN to the file, the recording remains as S-Log3. When you import the clip into the latest version of Sony’s Catalyst Browse software the LUT you used when shooting is automatically applied to the clip as well as the correct exposure offset for the Exposure Index used. The end result is the clip looks exactly the same in Catalyst Browse as it did on the cameras LCD when you were shooting. But because it is still an S-Log3 recording, you can still manipulate it as much as before and if you want you could use a different LUT in post. Hopefully in the future other edit and grading software will also read this metadata and apply the LUT automatically, this is really how this should all work (hope the FX6/FX9 get the same functionality). 

How do I load a custom LUT into the FX3 camera? Start with an empty SD card and format the card in the camera. This will create the necessary folders needed for the LUT on the card. The FX3 accepts 33x 3D cube LUTS, this is the most commonly found LUT format. Next copy your chosen LUT to the “PRIVATE”, “SONY”, “PRO”, “LUT” folder. Then put the card into the camera and go to the menu “Exposure/Color”, “Color/Tone”, “Manage User LUTs” option. From here you will first chose a User memory slot to load the LUT into. You will then be prompted to choose the SD card that you saved the LUTs to, and then LUT you wish to load from the card. The LUT will be saved to the slot chosen – the original LUT name is kept, but if the name is too long it will be abbreviated. Once the LUT has been loaded into the camera you can then select it from the new Home Menu – page 1. You can save up to 16 user LUTs.

How do I bake in a LUT? To bake in a LUT you have to come out of the cameras dedicated Log shooting mode. In the normal shooting mode if you go to the menu’s “Exposure/Color”, “Color/Tone”, “Picture Profile” page you will see that as well as the picture profiles, a little lower down you will find 4 “PPLUT” settings. These initially correspond to the first 4 user LUT memories and allow you to select those LUTs as a baked in look. But if you have saved more than 4 user LUTs do not despair. You can go into the “PPLUT” setting and if you select “Basic Look” you can select any of your saved user LUTs.

What do the Zebras or histogram measure in the CineEI mode? The Histogram and zebras measure the brightness of the LUT when using the CineEI mode. Do note that when correctly exposed the s709 LUT will be a touch darker than S-Cinetone or normal Rec-709.

  Middle Grey Average Skin Tones 90% Reflectivity white card (add 2-3% for white paper).
S-Log3 41% 48-52% 61%
s709 44-45% 57-62% 77-78%
709(800) 44-45% 65-70% 89%

Will the A7S3 get the same firmware? As far as I know, no it will not. It is my understanding that this firmware is specifically for the FX3 as the FX3 is sold as a part of the Cinema Line and primarily as a video camera. The A7S3 is not part of the cinema line and is sold primarily as a photo camera that also shoots great video.

New addition to Sony’s Cinema Line On The Way

In some regards this is now already old news. I’m under NDA so there are limits as to what I can, or what I should write. Hopefully I won’t get into too much trouble if I point out that there are already a lot of rumours circulating right now that a new camera called the FX3 might be about to be launched. The official line is that there is going to be an announcement on the 23rd of February, just a week from now.  So why not just chill out for a one week as then you will be able to get the full facts about whatever it is that’s going to be added to the Cinema Line. 

Sony Introduces Cinema Line and teases the PXW-FX6

FX6_side_44062_02-Mid Sony Introduces Cinema Line and teases the PXW-FX6
Sony are teasing the PXW-FX6.

So there is no IBC show this year and instead Sony are doing various online sessions with the latest news as well as guides to some of the most recent products and firmware. 

Today’s news is of new branding for Sony most recent digital cinema cameras, Vence and the PXW-FX9. These cameras are now members of what Sony are calling “Cinema Line” and in addition there are pictures of a smaller camera not surprisingly called the FX6 that looks like – well – what you would expect an FS5 replacement to look like. 

In the past Sony’s digital cinematography cameras were denoted by their “Cinealta” badges. But to some extent this became somewhat confused as all sorts of cameras like the Sony EX1 and Venice were classed as Cinealta. So what exactly is the new Cinema Line?

To quote from the Sony Press Release:

“At Sony, we celebrate and have the deepest respect for filmmakers, cinematographers, and storytellers. With Cinema Line, we’re tapping into our DNA from both the film industry and digital imaging prosumer market and combining it to develop new creative tools. This line of products will enable creators to push their creative boundaries further and capture the emotion in each and every frame.” says Claus Pfeifer, Head of Connected Content Acquisition, Media Solutions, Sony Professional Europe.

So, I’m not really sure! My guess is it’s a set of products, not just cameras  aimed at what we now tend to call Cinematography rather than broadcast television or industrial video applications. Of course there is a huge amount of cross-over between all these different genres these days, so I’m sure the Cinema Line products will be used all over the place.

My main hope from this is a more unified look from any cameras in the Cinema Line. My big hope is that the FX6 will have S-Cinetone and that when you shoot S-Log3 with the FX6 that it will look like the S-log3 from the FX9 or Venice. This will make grading and post production easier where you mix and match cameras.

What about the FX6?

I don’t have any more solid information than you right now. We can expect it to be Full Frame, to shoot 10 bit 4:2:2 4K using S-Log3 and to probably have a raw output. As the FS5 is based on the A7S hardware with an F5 sensor it wouldn’t surprise me if the FX6 was based on the A7SIII hardware with the FX9 sensor perhaps. So it might have 4K at 120fps. From the pictures it appears to only have 2 channels of audio and the cover for the card slots (there must be 2 as there is a slot select switch) doesn’t look big enough for two XQD or CF Express Type B, so I would guess that like the A7SIII it’s SD cards or perhaps CF Express Type A.  Another thing I notice in the pictures is a lack of an AF/MF focus switch and in particular no menu navigation controls, so I will guess the LCD is a touch screen and it will rely on this for a lot of function control and menu navigation. But this is just speculation, so don’t hold me to any of it!!!