F55: F5/F55 firmware v4.1 released. Sony says "a more natural look image"

starcentral

starcentral

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Released on Friday Sony's latest sub-version release to firmware version 4, version 4.1

http://community.sony.com/t5/F5-F55/NEW-Firmware-v4-1/td-p/360148

From what I see amongst the coolest changes are a double speed mode for the viewfinder, MLUT on/off for main and external signal in 4k XAVC mode (F55 only), and apparently what might be some changes to the internal gammas to provide what Sony calls "a more natural look image".

Whatever could that mean? Perhaps they are improving the color science of their curves which sounds fantastic and definitely needs to be further explored for more details.


Sony said:
<<Modification from V4.0 to V4.1>>

<Functional Improvement>



1. Enhancement of Viewfinder Double Speed mode

The Viewfinder Double Speed mode is now available in S&Q mode with 72fps or higher as well as fixed frame rate.





2. Support of MLUT while recording XAVC 4K/QFHD (F55 only)

When the recording format menu of F55 is set to XAVC 4096x2160P or XAVC 3840x2160P, MLUT for “SDI (Main) & Internal Rec” is available.



NOTE: While the MLUT is activated for “SDI (Main) & Internal Rec” the MLUT is also automatically activated for “SDI (Sub) & HDMI” and “Viewfinder”.






MLUT Main & Internal Rec


ON / OFF


ON / OFF




MLUT Sub & HDMI


ON (fixed)


ON / OFF (selectable)




MLUT Viewfinder


ON (fixed)


ON / OFF (selectable)




3. VF High Contrast function as Assignable Buttons

We added a “High Contrast” function as a selection for the Assignable Buttons to boost the contrast of the Viewfinder while the dedicated Assignable Button is activated. This function is automatically turned off when the camera is turned off. You need to activate the function again after power on the camera.



4. Change of the default Color Space setting in Cine EI mode to S-Gamut3.Cine/Slog3

By performing an “All Reset” of the PMW-F5/55 the default setting of System Base Setting Shooting Mode Cine EI Color Space has changed to S-Gamut3.Cine/Slog3.



5. Improved functionality with CA4000

- Change of detection area of “Auto Iris” function to improve operation speed by using PMW-F55 with CA4000.

- The amount of Auto Iris Override is also reset by setting “Auto Iris” mode to OFF.



6. Standard Gamma and HyperGamma usage

The F55/F5 record and output a more natural look image while using standard Gamma and HyperGamma curves.



<Other Improvements / Bug fixes>



1. USER 3D LUT exported by BlackMagic DaVinci Resolve system

While using User 3D LUTs exported from BlackMagic DaVinci Resolve system the picture was not shown as it intended to be. This has been fixed. To use the exported 3D LUT properly please import the 3D LUT again into the PMW-F5/55.



NOTE: The .cube file needs to have a grid number of 33 or 17 and the Input Range needs to be 0.0-1.0 equivalent. The file should also not include a 1D LUT or a space in front of the table data and Keyword to work properly with PMW-F5/55.



2. Media select for AXS media

In some cases recording to the AXS memory card was not activated after doing a restart while shooting AXS/SxS simultaneously. This has been fixed.



3. Clip number increment while using AXS recording only

In some cases the clip number counting for AXS recording on “Title” clip naming mode was reset (and started again from 1) after turning off the camera. This has been fixed.



4. Name of lens file shown on the sub display

In some cases the lens file name was not shown correctly on the sub display. This has been fixed.



5. MLUT support while using SStP/Proxy recording mode

In some cases the Proxy file is not recorded with MLUT while using SStP/ Proxy recording mode. This has been fixed.



6. ABB function while using SStP format (HDCAM SR)

While shooting in SStP (HDCAM SR) recording format and other frame rates except 24P it was not possible to use ABB function. This has been fixed.



<Notification we would like to share>



1. Interval recording function

You can see “Interval Rec” on recording menu page, but V4.1 firmware doesn’t support Interval Recording function yet.



2. Assignable button of Marker

When you assign Marker On/Off as an Assignable button, Marker on VF and SDI Out setting is changing below.









Marker on VF


Marker on SDI


Message




Push 1


ON


OFF


Marker ON




Push 2


OFF


ON


Marker ON




Push 3


OFF


OFF


Marker OFF




Push 4


ON


ON


Marker ON




3. iOS setting for WiFi Remote

While using WiFi Remote by iOS devices and Safari, please turn off Private browse function.



4. All file Support

All files which are created with Firmware V4.1 are not compatible with an earlier firmware version.
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As usual, features added or removed with no clear explanation of what it means or does. Still trying to find out what Matrix/color space S-log2 in Custom has now.
 
As regards to <Functional Improvement> 2. (above), If I applied a 709 MLUT to Internal Rec., I assume that by "baking" in the lut to the XAVC 4k recording, I would lose some abilty to grade in post, but would I retain the 14 stop DR range? The ability to capture highlight and shadow detail inherent in SLog2, SLog3 respectively if properly exposed?

And one more question if anyone knows the answer, does the latest update to DaVinci Resolve include an ACES input device transformation for SLog3 as it now does for SLog2?

Tom
 
Tom, yes if you burn in the LC709A look for instance the camera will be able to capture the 14 stop range if as you say it's exposed correctly. Of course you wont see the 14 stops in the lutted final image but your not losing any stops. Yes, you'll also be limited to how much you can push and pull in post because the de-logging already happened in-camera. Just imagine what you have to play with when shooting a Hypergamma and you'll be in a similar boat.

I shot all day Saturday while burning in the LC709A look while in S-log3 Cine3 gamut(or whatever it's called) and the results were great. Not overly contrasty or saturated, shot at EI1250 and 1000 (F5) and there was zero noise in the file. Instant Alexa 709.
 
Tom I would say you would retain the same dynamic range as shooting straight with slog but I wonder how good the quality of the internal MLUT is. ie. are they "viewing" LUTs or "grading" LUTs? This I have not looked into yet but curious about it.
 
starcentral said:
Tom I would say you would retain the same dynamic range as shooting straight with slog but I wonder how good the quality of the internal MLUT is. ie. are they "viewing" LUTs or "grading" LUTs? This I have not looked into yet but curious about it.
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Dennis, definitely try it out, I think you'll be really impressed. Was weird exposing WYSIWYG, so used to stoping down my non-MLUTTed viewfinder image when shooting S-log. I will say for some reason or maybe it's my DP6 monitor, the final image looks better then my MLUTed preview on my monitor.
 
Yes will be shooting a test hopefully this weekend with charts and models. :)

I did find out the camera only supports 17x17x17 or 33x33x33 cube LUTs internally, whereas the same downloadable LUT's by Sony for Resolve, etc.. are 65x65x65 which is more suited for grading in post. So I'm sure that for monitoring, or if you have no intention of heavy grading, that using the built-in LUT's might be ok. But for more "umfff" in post it would probably be better to keep the footage in raw slog2/3 and apply the LUT there.

Anyway its just something to keep note of since in general LUTs can be destructive to the image.
 
Good to know Dennis. Yeah, as much as I like the ease of it Im only burning in for clients that have near no post budget or S-log skill. I do like how I can change the EI ISO and it reacts like changing the ISO in Custom, good for inconsistent lighting when you have no control of it.
 
Yep and I have some work where I won't want to fuss in post either so its good to know you find it satisfactory.

These cameras just keep getting better.

:)
 


https://vimeo.com/96746530


A demo we show clients who do not have the budget for color correction, I wouldn't recommend this method for on the fly shooting but for properly lit sit down interviews, it works.
 
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No problem it will be up there until Sony changes something that affects the process. Wondering if anyone picked up the change in camera EI I had to make between the first test scene and the final scene, it went from 500EI to 3200EI.
 
scocklin said:
No problem it will be up there until Sony changes something that affects the process. Wondering if anyone picked up the change in camera EI I had to make between the first test scene and the final scene, it went from 500EI to 3200EI.
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There were two scenes? Do you mean set still shot at the very end? Either way, no I didnt see a change in EI. The LUT does a good job of hiding shadow noise.
 
While doing the demo the light changed in the window, it got much brighter between the sample where we were shooting at 500EI to when we made the changes in Sony RAW and loaded that LUT into the F5 camera. With the new LUT loaded I just cranked up the EI from 500 to 3200 and re-adjusted lens exposure which brought the window back in. But the higher ISO adds noise I think for a client if something like this happens I would use a 2 stop net behind the subject or ND the window and keep the ISO low, still the versatility of this camera is amazing.
 
Can you give time references in the video as to where exactly it's changed to 3200ISO? I don't really follow where you meant..
 
What a massive amount of gear, how did the actress get in and out of the setup?

Oh, I see she followed the dog.
 
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lightstrum said:
What a massive amount of gear, how did the actress get in and out of the setup?

Oh, I see she followed the dog.
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Wow you guys are brutal, not so massive, what you are looking at is my usual set-up, 1Key (Kino Barfly 400) shot through a silk, 1 fill (Kino Barfly 200 bounced off a white 4x4 westcott, 1 back light (Kino Barfly 200) and some soft fill fluorescent light inside china balls . The actress is my wife and has been my sound tech for almost 40 years and the dog is always hanging out with us.

Starcentral; the ISO can be read in RAW Viewer, that is the program I used, you can see the ISO displayed on the right hand side of the screen.


I really thought this forum was for grown-ups, I guess I was wrong.
 
Result is very nice and natural looking, you should post your details in the cinematography section - the guys there will really love to see this behind the scenes stuff.

Will re-watch the video and look for the ISO value..

Cheers,
 
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