F5: Pro Res & DnxHD announced for the F's!

What do you mean Dennis? Has someone posted the same thread on the Sony forum? Could you post a link? cheers.
 
The announcement thread itself has been removed by Sony.

The link posted in the first post of this thread no longer works.. POOF
 
I wouldn't worry about it, I'm sure it will happen. I suspect they did it to see how many people would be interested in ProRes. Any news on the new shoulder mount body? I can't wait to see what Sony come up with.

I've just been reading the firmware updates for F5/55, they must be the most versatile cameras ever made! I've been avoiding reading about the new F's for a reason, haha.
 
The thread was highly speculative, on a large part by me as I had calculated the max frame rates possible in 4k should Sony had decided to record in the highest ProRes quality setting to the internal SXS cards. It wasn't pretty. I then speculated that the AXS-R5 recorder might be needed along with the new AXS-slim cards for the ProRes upgrade because they have more speed and were larger in size. ie. an internal SXS Pro Plus card is only available in 128GB max so wouldn't allow for much storage with the real high quality ProRes stuff.

Maybe Sony didn't like all my hypothesizing.
 
starcentral said:
I then speculated that the AXS-R5 recorder might be needed along with the new AXS-slim cards for the ProRes upgrade because they have more speed and were larger in size. ie. an internal SXS Pro Plus card is only available in 128GB max so wouldn't allow for much storage with the real high quality ProRes stuff.

Maybe Sony didn't like all my hypothesizing.
Click to expand...

It makes sense to me, if you have to buy the R5 to record to ProRes, it means more sales of the R5! I've been doing similar research, on the PIX 240i, a 32GB CF card will give you 13.9 minutes of ProRes 4444 1080 25p. So 4k will be a massive mount of storage, but worth the hassle from what I've bee reading, everyone loves ProRes 4444.
 
My feeling is that if it does end up using internal SXS cards it will be a wimpy HD resolution in ProRes which no one will really be excited about.

When RED announced the $13k Meizler module which could record in ProRes right away people were asking; where was HFR? where was 4444? etc...

It fizzled from there.
 
It's a hardware upgrade, it bet it will be 4K 4444 to outdo the Amira's 2K 4444, but I wonder how much it will cost? I doubt HD only as no one would buy it, you could use your external recorder instead. But who knows with Sony, they do make some strange choices at times.

RED? :bath: I'm amazed you even read about RED! :smile:
 
JackCarter said:
It makes sense to me, if you have to buy the R5 to record to ProRes, it means more sales of the R5! I've been doing similar research, on the PIX 240i, a 32GB CF card will give you 13.9 minutes of ProRes 4444 1080 25p. So 4k will be a massive mount of storage, but worth the hassle from what I've bee reading, everyone loves ProRes 4444.
Click to expand...

Much better to go with SSDs in the PIX. Much cheaper, much longer record times.
 
Yes, I would agree that is probably a permanent option upgrade. I remember I paid about 1,400.00 to a Sony dealer to add a card to my PMW-500 to enable it to record SD as well. If this F5 hardware upgrade is under 1,000.00 for parts and labor, it will be well worth the $$ for me since ProRes is requested from my clients all the time.
 
Do you not think that Sony's implementation of internal codecs is just ridiculous? For some strange reason I was watching a review of the Blackmagic pocket Camera, it's a piece of junk really, but Blackmagic adds ProRes 422 and Cinema DNG codecs in to a camera the size of a NEX 5N! Sure they are more compressed than the standard versions, but they are far better than AVCHD or XDCAM.

My patience is wearing thin with Sony cameras, they are all crippled in some way, and require $$$ to make work. If Blackmagic can implement professional codecs to products that cost £649/$995, then why can't Sony add them in to the so called 'Professional' line up that cost way more? Is it because other company's pay them not to add them in?

4K becoming the new standard? http://www.sony.co.uk/pro/press/pr-sony-itv-hd-xdcam?SM=FB1&src=270314Select_ITV_
 
Well in Sony's defense, they delivered the formats that were promised installed in the camera out of the box. In both cases with hardware upgrades required on my PMW-500 and now the F5 are my choice to add just due to client requests for ease in editing workflow. I'm finding the more choices I can offer clients in terms of file types and even resolutions I can deliver after a shoot is better and usually means less time for transcoding on their end.
 
Sorry, I was talking about Sony cameras in general. The F5/55 are the best of the bunch, but also cost the most money. Perhaps I'm having a bad day, but I feel strongly that any camera I purchase in the future, must have a strong internal codec. The FS700 for example, it ticks nearly all the right boxes, just a shame it has the same internal codec as a NEX 5N! They give us all these amazing features on the 700, price point, light weight, add on almost any lens, 240fps, S-Log 2, 2K, 4K, yet leave out the most important feature, the image, or rather the codec. And let's not forget all these Pro's who film beaches, trees, and random people, who advise Sony about what features to add!
 
i think it's part of the design paradigm since the old cameras were discarded in favor of a sort of reverse engineering program derived in part from dslr cameras and "modularity." and there is something to be said for designing a sensor/camera head that can be quickly adapted by a recorder. but who hasn't looked at all the frankenrigs over the last few years (including the f3) and asked -if i can pay a couple thousand more to buy the recorder and hang it off the back, why can't the manufacturer just build it into the camera body and charge me for it? the f5/55 is an improvement in that regard in terms of integration. in some ways. i think they've really capitalized on the confusion in the market over codecs and form-factor, and have been able to get products to market more quickly than most to take advantage of every shifting wind. the f5/55 appears to be one of the most versatile cameras out there at the moment, but it seems even Sony are hedging on the codec wars.

i think this is one reason folks still look longingly at Arris.
 
Last edited:
I hate AVCHD in general but find the implementation on the FS100 and FS700 to be very good for what it is. I have no real problem with XDCAM 35mb/s as in the EX1/EX3/F3 either. For what they are I find them to work fine. Not as good as the 10-bit codecs but for 8-bit internal they are okay.

Prores is something else and to me it's the perfect codec to achieve 98% of what can be extracted from any camera given that the camera spits out 10-bit 4:2:2 or better.
 
You must log in or register to reply here.
Back
Top