New Sony FS E-mount 4K camcorder to be announced at IBC

Osslund said:
Shot today with my FS7 in FHD and some 150fps stuff. The FS7 is the ultimate FHD camera! Great footage even from RnG stuff.
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Love the FS7, and as enticing as the FS5 may be, the 4K Long GOP as the only codec is very limiting for my workflow. The incremental difference in price in the UK is only about £800 before VAT and I think totally worth it, I dont think there is a better all-rounder for all sorts of work at the moment on the market. Definitely going the FS7 route soon.
 
I have a pre-order for the fs5. I've never used the long GOP codec before and I've read that it needs a more powerful computer. I'm running a decent iMac with prem cc but I'd prefer to be safe than sorry and carry out some sort of test.

So my question, does the big brother camera, the fs7, have the option to record in the same codec? UHD at 100mbps long GOP. And would some kind soul be able to share a piece of sample footage with me (Dropbox) at this codec rate so I can check my workflow is ready for it.

It would be greatly appreciated and a big help to stop me worrying about this potential future hurdle.
 
mattjeh said:
So my question, does the big brother camera, the fs7, have the option to record in the same codec? UHD at 100mbps long GOP. And would some kind soul be able to share a piece of sample footage with me (Dropbox) at this codec rate so I can check my workflow is ready for it.

It would be greatly appreciated and a big help to stop me worrying about this potential future hurdle.
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The FS7 has the option to shoot UHD (Sony calls it QFHD) @ VBR 100Mbps Long GOP but my hotel's internet is too slow to even surf the web so can't help you out.

Suggest posting a request in the PMW Cameras ( & temp FS7) forum.

http://www.dvxuser.com/V6/forumdisplay.php?219-PMW-Cameras-(-amp-temp-FS7)
 
I just wanted to know when slow-motion is activated if you can capture at normal frame-rate too, so you can have a slow-motion clip in between to normal footage. For example in this video https://vimeo.com/112027631 when the bike makes the jump it's slow-motion and the rest it's at normal frame rate (24p) It's possible to achieve this effect with FS5 burst mode? Thanks :-)
 
Bern Caughey said:
The FS7 has the option to shoot UHD (Sony calls it QFHD) .......
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Nothing to do with Sony - UHD and QFHD mean different things. The terminology is confusing, but strictly speaking UHD is an umbrella term, QFHD is specific and means 3840x2160 (Quad Full HD - or 4x the area of normal 1920x1080). The trend is to use the term "4K" to mean 4096x2160, "QFHD" to mean "3840x2160".

"UHD" can also be applied higher resolutions ("8K UHD"), and within that there's a specific designation for "Super Hi-Vision". See:
https://en.wikipedia.org/wiki/Ultra-high-definition_television

On October 18, 2012, the Consumer Electronics Association (CEA) announced that it had been unanimously agreed on by a vote of the CEA's Board of Industry Leaders that the term "Ultra High-Definition", or "Ultra HD", would be used for displays that have a resolution of at least 8 megapixels with a vertical resolution of at least 2,160 pixels and a horizontal resolution of at least 3,840 pixels.[55][56][57][58] The Ultra HD label also requires the display to have an aspect ratio of at least 16x9 and to have at least one digital input that can carry and present a native video signal of 3840x2160 without having to rely on a video scaler.
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In other words, QFHD is the minimum resolution to qualify for UHD.
 
I've read somewhere about the codec that there's a VBR 2 Pass encoding in. Anyone does think that it's possible to mitigate artifacts via 2 pass encoding? There's also the option on FS5 to AVCHD format if I remember exactly, is it better? Thanks
 
Danilo Del Tufo said:
I've read somewhere about the codec that there's a VBR 2 Pass encoding in. Anyone does think that it's possible to mitigate artifacts via 2 pass encoding?
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Yes - it should be an improvement, though I'm left with a few questions about how it's implemented here.

Normally, with 2 pass you can think of the first pass analysing the material, the second pass actually doing the encoding. The first pass then allows more data to be allocated to the material that most needs it - such as high motion scenes. But you'd normally expect the whole file to be available for analysis - not a problem when (say) encoding an edit for a DVD, but for real time encoding?

I can only assume the camera is using a buffering process, starting the first pass in real time, but delaying the second pass (and actual encoding) for a time laid down by the buffer. Longer the buffer, better the process will be. Be interesting to see how big the buffer is, but in theory then yes, should certainly give an improvement over a straightforward encoder.
Danilo Del Tufo said:
There's also the option on FS5 to AVCHD format if I remember exactly, is it better? Thanks
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I'd expect the XAVC codecs to be better, but useful to have AVC-HD for legacy. It's what a client may demand, or may be needed by an older editing configuration. As an XDCAM badged camera, I'm disappointed it doesn't have the XDCAM codecs. The XAVC modes may well give better quality for a given bitrate, but currently a lot of users actually specify XDCAM as their required format, especially in the broadcast world.
 
harddrive said:
Yes - it should be an improvement, though I'm left with a few questions about how it's implemented here.
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I've found this statement in another forum about 4K XAVC-L codec by Oliver Daniel: "The severe issues are banding, macro-blocking and some kind of blotchy color stuff going on. Take note this is in Slog3/CineEl - I'm not sure if there are issues in other PP's. In the latest instance, it was a female face. It was a very well lit face using daylight LED's. Her face was a cocktail macroblocking mess... like bits of magenta smeared with yellow. Tried many, many grades and all had the same issue. Various shots. Other times it's been detail in the highlights - lots of banding and macroblocking. Especially clouds, trees, anything hazy looking (like smoke). Also there's alot of fringing/smearing/fuzziness around some bright highlights, like someone has drawn round them with a crayon. The exact same compositions in XAVC-I have NONE of these issues. Just flat-out fantastic and very clean. I've shot XAVC-L in 1080p on FS7 too. I've not really seen any issues that I recall. I'm not sure if that is camera-related or the conditions in which I filmed. Personally I think the FS5 looks great, but should do some tests before to see if these image issues can be avoided (or see if they are there at all)." Anyone has tested 4K XAVC-L 8 bit on FS7 and noticed same problems?
 
Danilo Del Tufo said:
Anyone has tested 4K XAVC-L 8 bit on FS7 and noticed same problems?
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I only use 4K XAVC-L for events. I haven't seen that issue. Then again shooting for events it doesn't have to be completely immaculate so it may be overlooked. Send me a PM Danilo and you can check a couple files to verify. All important jobs are XAVC-I for 4K when requested.
 
Babu said:
I only use 4K XAVC-L for events. I haven't seen that issue. Then again shooting for events it doesn't have to be completely immaculate so it may be overlooked. Send me a PM Danilo and you can check a couple files to verify. All important jobs are XAVC-I for 4K when requested.
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I've tested in Adobe Premiere CC 2015 both saturation, contrast and luminance your files without see any macro-blocking stuff in the preview area, one of them is underexposed so I've try to balance more using contrast and luminance. I've did the test on iMac 27" 2011 and have some problem with the playback caused by poor specs of my iMac, but I will buy a new Pc when the FS5 camera will be in commerce.
 
Daniel,

Be wary of appyling LUTs to LOG footage in Premiere 2015. There seems to be a bug & some footage may show artifacts that wouldn't appear when processed in other software.

Adobe is aware of the concerns & hopefully working on a fix.

-B
 
Bern Caughey said:
Daniel,Be wary of appyling LUTs to LOG footage in Premiere 2015. There seems to be a bug & some footage may show artifacts that wouldn't appear when processed in other software.Adobe is aware of the concerns & hopefully working on a fix.-B
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I've tried Lumetri LUTs in Adobe Premiere CC 2015, is that you asked for? I've did a quick test for Lumetri "SL GOLD WESTERN UNIVERSAL" , the image shows a yellow outline near to green trees.
 
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I had an opportunity to get the FS5 in my hands today, an open day at CVP in the UK. Beautiful camera! So light and easy to hold. We had a quick look at a number of features like the slow motion and low light, all impressive.

I'm sold.
 
Saw it today at a launch event in Toronto as well. Felt really nice! Once I see a bit more footage from it (and assuming all is well), bye bye C100!
 
Heh yeah that'd be interesting.. but somehow Doubtful. They'd kill the C100 mk2... and even the FS5 can double the C300 Mk2's top frame rate (in burst mode)... So some kind of C200 wouldn't come close to what Sony is offering.

Now only if Sony could figure out their lenses and get rid of that RIDICULOUS fly-by-wire focusing crap.... haha
 
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