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Tag Archive: Sony

Sony PMW F55

Sony released the press info for their new CineAlta cameras PMW-F5 and PMW-F55. Both are 4K cameras, that can record RAW material (limited to 2K). You can shoot highspeed with both. The F5 supports frame rates up to 120 fps at 2K. The F55 supports frame rates up to 240 fps at 2K. A nice feature of them is the simultaneous recording of RAW and compressed material on internal SxS-cards and the optional AXS-R5 RAW recorder with matching time codes. This way you get online-/offline-material to which sony provides a workflow for post production.

Sony PMW F5

Along with this neat new cameras comes a new line up of Sony CineAlta PL lenses. It’s the successor to its former line up of PL lenses. Focal lengths go from 20 mm up to 135 mm. Focus rings rotate 240°. Aperture is T2.0 on all lenses.

Sony PL lenses

via Sony

Philip Bloom did a little comparison in two parts. Enjoy.

I should have realised how tricky this would be to do right but I am glad I did. This has been an immense amount of work. I wanted to do a “real world” comparison test of the above cameras with a Canon 5DmkII along for the ride to see how it compares.

It’s not a Shootout like the Zacuto one coming in June but a comparison on how they are to operate, the features they offer and of course a look at their images.

Part 2 goes in depth looking at the various features, but this is the pretty one with all the shots! Enjoy!

Den Lennie and Alister Chapman did a quick comparison of the Sony NEX FS100 & PMW-F3 S35 EXMOR cameras.

The main aim of the shoot was to see how the FS100 held up against the F3. We shot on a bright sunny day by the River Thames and again in the evening in a typically lit living room. There were no big surprises. The FS100 is remarkably close to the F3. You would have no problems cutting between the two of them in a project.

I did find that the FS100 LCD appeared less sharp and not quite as good as the F3′s even though they both use the same underlying panel. This is probably down to the additional layers required for touch screen operation on the FS100. I also did not like the 18-200mm f5.6 kit lens. There was too much lag in the focus and iris controls, but the beauty of this camera is that you can use a multitude of lenses. For the evening shoot I used a Nikon 50mm f1.8 which was so much nicer to use. On reviewing the footage I did find that we were tending to over expose the FS100 by half a stop to a stop, this does make making accurate comparisons difficult and I apologise for this. I believe this was down to the slightly different images we were seeing on the LCD’s. I did use the histograms on both cameras to try to ensure even exposure, but even so there is a difference. A small part of this is also likely down to the very slightly different contrast ranges of the two cameras.

Oe thing we discovered, not mentioned in the video is that when you use a full frame lens, like the Nikon 50mm. You must ensure that the E-Mount adapter you use has an internal baffle or choke. If it doesn’t you will suffer from excessive flare. The adapter I had did not have a baffle and some shots (not used) were spoilt by flare. The adapter I have from MTF for the F3 has a baffle as do MTF’s E-Mount adapters, so these should not suffer from this issue.

The FS100 performance is so very close to that of the F3′s (at 8 bit 4:2:0, 35Mb/s) that it is hard to tell the two apart. I believe the F3′s images are just a tiny bit richer, with about half a stop more dynamic range, in most cases it takes a direct side by side comparison to show up the differences.

The range of camera settings and adjustments on the FS100 is not quite as extensive as on the F3, nor do the adjustments have such a broad range. However there is plenty of flexibility for most productions.

If you don’t need 10 bit 4:2:2 then it is hard to justify the additional cost of the F3, both cameras really are very good. Despite some other reports else where I felt the build quality to be very good and the buttons, while small, are big enough and well placed. If you do want autofocus then you will be pleased to know that it actually works pretty well on the FS100 with only minimal hunting (of course you must use an AF compatible lens).

I did also record the HDMI output to one of my NanoFlashes at 100Mb/s. Comparing these side by side it is extremely hard to see any difference. It is only when you start to heavily grade the material that the advantage of the higher bit rate Nanoflash material becomes apparent. There is less mosquito noise in the NanoFlash material. I was really impressed by the AVCHD material. The lack of noise in the images really helps.

The FS100 really is the F3′s little brother. The pictures are remarkably close, which they should be as they share the same sensor. The FS100 packs down into a remarkably small size for transport. The loan camera from Sony was actually packed in a case designed for the MC1P mini-cam, about 15″x10″x5″ so very compact indeed. The F3 is considerably larger and bulkier, in part due to the extra space taken up by the built in ND filters.

The lack of ND filters does need to be considered. There are some clever solutions in the pipelines from various manufacturers as well as existing solutions such as vari ND’s, screw on ND’s and a Matte Box with ND’s, so it’s not a deal breaker

I think there is every chance that the FS100 will be the first NXCAM camera that I will purchase. It will be a good companion to my F3. It’s modular design will allow me to get shots that are not possible with the F3. I felt that the FS100 (with the 18-200mm lens that I don’t like) was better suited to “run and gun” than my F3 with either manual DSLR lenses or PL glass. You can, with the FS100 simply point the camera at your subject and hit the one push auto focus and auto iris and have an in-focus, correctly exposed shot. This is much more like a traditional small sensor camcorder in this respect. The long zoom range also makes this more like a conventional camcorder, although there is no servo for the zoom.

In conclusion, in my opinion, for “run and gun” or quick and dirty setups the FS100 with the 18-200mm lens has an edge over the F3 due to the fast auto focus and auto iris one-push controls. For more precise work and shallow DoF your going to want a different lens, something with manual control and calibrated focus and iris scales. For more demanding shoots then the F3 is probably the better choice with it’s slightly improved dynamic range and the ability to use S-Log and 4:4:4. In either case these cameras can produce highly cinematic pictures and I see no reason why you could not shoot a great looking feature with either.

Read more at xdcam-user.com.

cinema5D reported that the signal, which comes out of the HDMI of the Sony NEX-FS100 is in fact 4:4:4 8bit.

“Yes, I’ll confirm that the HDMI out on the FS100 is 4:4:4 8bit. That is what the FS100 product manager at Sony told me right to my face. Don’t forget that these are pre-preproduction models and the specifications are still changing. Last week Sony may have said the camera was 4:2:2 in their literature, now they are saying 4:4:4. I have no way of measuring it myself, but I trust 100% what I have been told.

The camera and an HDMI recorder talk to each other. If the recorder can handle 4:4:4 then that’s what the camera will send. If the recorder says it can only handle 4:2:2, then that’s what the camera will send. No menus need to be changed. The two-way communication is automatic.”

Read and discuss at cinema5D.com

F65 CineAlta Digital Motion Picture Camera

Sony F65 CineAlta 8K Digital Motion Picture Camera

Building upon the distinguished CineAlta™ platform, the F65 represents the next generation technology for Digital Motion Picture acquisition:

  • F65 CineAlta Digital Motion Picture Camera
  • Building upon the distinguished CineAlta™ platform, the F65 represents the next generation technology for Digital Motion Picture acquisition:
  • Industry’s first 8K 20M-Pixel CMOS imager for digital motion picture production
  • From this imager, the F65 will derive brilliant HD, 2K, True 4K resolution, and higher
  • 16bit Linear RAW output
  • F65 adheres to 1.9:1 aspect ratio, DCI Projection standard (4096 x 2160 or 2048 x 1080) Choice of picture composition as needed: 1.85:1, 1.78:1, 1.66:1, 1.33:1, 2.35 spherical, 1.3x anamorphic, or 2x anamorphic cropped
  • Wide dynamic range, low S/N ratio, and high sensitivity
  • Optional SR-R4 on board SRMemory recorder
  • HD-SDI Monitoring outputs with viewing LUT’s
  • The camera can shoot 1 to 120 fps
  • 16 bit-RAW recording in SRMemory™ card (sold sep.)

Read more at sony.com.

YouTube Preview Image

The boldest piece of Sony’s sensor narrative is about size. On the heels of the Super35mm-sized single CMOS sensor the compnay developed for the F3, Sony has announced another CMOS single-sensor milestone: Its newest CineAlta camera featuring an 8K x 2K chip. That gives the new 8K CMOS inside a total pixel count of 20.4 million pixels, far more than the roughly 8.8 million pixels of the current 4K x 2K sensors in other existing cameras on the market. The new sensor size obviously also brings with it higher color reproduction and resolution than can be captured by those other 4K sensors. But don’t confuse sensor size, pixel density and resolution with the recording format. The images are still recorded and output in 16-bit RAW 4K (16:8:8). During our demo at Sony’s Atsugi Technology Center in a suburb of Tokyo, however, those images were noticeably crisper, brighter and cleaner as a result of the extra pixels. Blacks were deep and rich, too. No shades of gray here, though if you were shooting a mountain climber against a textured, marbled slab of granite, this imager would certainly pick up every bit of uncompressed detail. I’m told the camera will shoot from 1 through 72 fps. Crank that up to a High Frame Rate mode and you can go all the way up to 120 fps.

Read more at studiodaily.com.

Another nice test of the PMW-F3 by Linton Vivian:

Shot in one day with a demo Sony PMW F3 Super35 CMOS Sensor Camcorder from the Video Pro Business Centre in Brisbane Australia.

Using the supplied Sony PL Mount Primes, 35mm, 50mm and 85mm. Also the Duclos adapted Tokina PL Mount 11-16mm Lens. This short video was shot at 720p 25p overcranked to 50 fps at 35Mb/s.

Thanks to Mark Broadbent for his Slidecam and Lens and Robert Dew from the Video Pro Business Centre for lending me the camera for a test run.


Sony PMW-F3 Test

Another beautiful test shot with the Sony PMW-F3 EXMOR S35 camera.

Low light test with the Sony PMW-F3 by Euan Preston.

Read more at euanpreston.com.