Pmw F5 & F55

Editman Sweden said:
I don't think that's a bad place but I find no audio pots on the left side like on the F3.
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From the pictures I have seen its a little Module in the same spot as F3 that you can remove if you don't need audio input. In most of the pictures it is removed. Not sure if its an added piece to be bought or just removable like C300.
 
Anyone know if the recorder needed for 4k on the F5 is the same module that will be needed to enable 4k on the fs700?
 
I have some questions I hope someone can answer. Right now with my F3 and Ki Pro Mini I can output 10bit 4:2:2 S-Log to the Ki Pro Mini with the Mini set to ProRes-HQ or DNxHDx, the through-put for these codecs is 220mb/s.

Reading through the new F5-F55 literature it looks like the new Sony XAVC-HD codec can output 10bit 4:2:2 at 100Mb/s on the new SxSPro+ cards. I also read that with a new SR Codec upgrade the camera would output 4:2:2, 4:4:4. 10-bit. 220, 440, 880 Mbps, would that be also to the SxSPro+ card?

I think I have this correct but if you want to take advantage of the full 16bit color depth you need to out-put to the Sony RAW recorder.

Does anyone know about the MLUT option output of the camera, is it 2D or 3D, will Sony supply software to adjust the LUT output?
 
Fahnon said:
Anyone know if the recorder needed for 4k on the F5 is the same module that will be needed to enable 4k on the fs700?
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Yes you will need another module called the HXR-IFR5 that will be priced around $2000 in order to work with the new Sony AXS-R5 deck.

And.... the new 4k AXS-R5 deck is Sony proprietary so it will only work on your FS700, F5 or F55. You might want to look at other options to record 4k out of that single 3G SDI connector on the FS700. I don't even think the AJA Ki Quad does single 3G SDI but I could be wrong.

Looks like FS700 owners will need to spend a small fortune to get 4k out of it if they go the Sony route...


**Edit: Also the current price for 1TB SRMASTER media (60 minutes RAW @ 24p) is around $6000 so I would expect around the same for the new media that will work with the AXS-R5.

It is FAR FAR FAR cheaper to buy a Scarlet camera and record RAW internally, even with windowed or limited HFR.
 
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Ryman said:
Apply or not to what.. apply to the monitor out and not the sxs card recording on the f5/55?


Hope that all makes sense Mitch, and isn't lost in internet translation..

Ryan
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You can have a LUT in the monitor and choose to apply it to the recording or not to apply it to the recording.
 
starcentral said:
I attended a Canadian Society of Cinematographers meeting when the F65 was being previewed. There I met one of Sony's head engineers who worked on the F65 along with several other CineAlta cameras. You'll be pleased to know the extent of support for Sony's open source SRMaster codec.

Below is a photo I snapped of the presentation and a small write up can be found on my blog

SRMasterPartners.jpg
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Voicing support for a codec is a far cry from actually being able to support it to the extent that DNxHD and ProRes are. Even XDCAM-EX is not used as proxy format for large editorial jobs, that usually falls on DNxHD 36.
 
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Mitch, was there any indication that it can use 3D LUTS? I'm guessing it's a no.

It would be nice to have saturation in the LUTs, but not end of world by a long shot.
 
Kolor-Pikker said:
Hmm, doesn't the F55 already oversample it's resolution like the F65? I didn't really catch that part. All the literature says that "it uses the same color filter as the F65", is it not actually the same or similar sensor?
Or is it only 4k? If so, it's a little less mindblowing than I originally thought.
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You are confusing the Color Filter Array (CFA) with the sensor behind it.

The Sensor
The sensor itself is different on the F5 v. the F55. On the F5 it is a CMOS Rolling Shutter, which means that it does not need a driver on every individual photosite, leaving more physical area for light gathering (aka a higher Fill Factor). This is why it is rated at 2000ISO. The sensor on the F55 is a CMOS Global Shutter, which requires a driver at every single photosite, lowering the Fill Factor so that the sensor is now rated 1280ISO.

CFA
The Color Filter Array (CFA) described the physical mask laid overtop of the sensor which allows it to perceive color information. A sensor is just a brightness gathering device and does not know from color. By using colored dyes over different photosites, a checkerboard of color information can be gathered which can then be interpolated to a full color image. The most common pattern for this mask is Bayer pattern. The precise coloring of the dyes used helps define the range of colors the sensor can capture. The F5 CFA uses dyes for a standard REC709 broadcast colorspace. The F55 CFA uses dyes for an extended colorspace beyond what standard broadcast monitors can reproduce. In fact Sony lays claim to the greatest ranging CFA in existance, with a colorspace beyond the range of any other technology, even film. This extended color gamut is what is shared between the F55 and the F65.
 
Thanks Mitch for the reply, greatly appreciated.

Whats the odds of the Element Technica F3 Riser working with the F5/55?


Ryan
 
Wow - can we PLEASE stop / correct this stupid rumor (started early in this thread) that the camera doesn't have XLR inputs, or doesn't come with the XLR module, or that pro audio was some kind of compromise or afterthought?? Wrong wrong wrong.

The camera comes with the XLR module (with dual inputs) included, it seems to be in a great location that makes sense (in my opinion) and was well thought-out and well-integrated.

It is NOT a module that snaps on the back. It is NOT an extra-cost accessory. Sony is NOT trying to "milk you for more money".

It's part of the camera in its base configuration - just removable, like many of the cameras we all know and love.
 
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I think the height of the lens center relative to the base of the camera is slightly different, which would mean that you'd need a different top plate to the ET riser. Fortunately the idea of being able to swap out this plate for different caeras was part of the original design so it should not be a big deal to buy this one replacement part.

If you go over to Jon Fauer's article at FD Times you can see photos of the camera with an ET F3 riser underneath. AbelCine loaned this to Sony, along with the Angenieux lens, the Fujinon Cabrio, the Chrosiel mattebox, some Shape handgrips and of course the lovely Aaton walnut handgrip on the front rods. We knew the ET Riser wouldn't align but it was close enough for what the testing they wanted to do.
 
Yes.. fantastic there are xlr inputs. Now I also see the 4 channel audio levels on the display screen, but.. Please show me dedicated physical audio level pots/dials? I have a feeling audio input levels are accessed via a button/dial/joystick combo. Anyone have a definitive answer to this?..
 
Introducing the PMW-F55
In-depth guide to new CineAlta 4K cameras

Richard Lewis, Cinematography Product Specialist, provides a detailed, hands-on tour of the new CineAlta 4K cameras. All the key features, including the flexible modular structure, multiple recording formats, menu controls and important accessories are shown. The 18 minute video also demonstrates recording on SxS Pro+ and AXSM memory card, including RAW and XAVC codecs.

http://www.sony.nl/pro/lang/en/nl/article/broadcast-professional-camcorders-pmw-f55-video
 
lexicon said:
Introducing the PMW-F55
In-depth guide to new CineAlta 4K cameras

Richard Lewis, Cinematography Product Specialist, provides a detailed, hands-on tour of the new CineAlta 4K cameras. All the key features, including the flexible modular structure, multiple recording formats, menu controls and important accessories are shown. The 18 minute video also demonstrates recording on SxS Pro+ and AXSM memory card, including RAW and XAVC codecs.

http://www.sony.nl/pro/lang/en/nl/article/broadcast-professional-camcorders-pmw-f55-video
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Nice video :)
 
One aspect that people seem to be overlooking is the ability to record 4K in an edit ready, 10bit/4:2:2 codec.

ARRI won alot of fans with a great quality, but easy to use codec. Sony seem to be the 1st to market with a 4K version (the 1D-C gets deserves a mention, but 8bit/4:2:2)
 
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