F5: Sony PMW-F5 4K XAVC on-board recording (quick test)

F

Filippo Chiesa

Well-known member
Yes, it works!
Many thanks to Paul Ream and Steve Adams for the great work (extrashot.co.uk/).

Camera: PMW-F5
Codec: 4K XAVC on-board recording
fps: 25p and 50p
Lens: Canon 70-200 mm f/2.8 II
Adapter: Prime Circle (lockcircle.com)
Editing: Premiere Pro CC 2014
Grading: Film Convert (F55 settings)


Cats:
Velcro and the little Swiffer

https://vimeo.com/104849396
 
Filippo, did you test resolution? ie. before and after 2K and 4K to see if it fact it is 4K?

There is some information floating around saying there is some type of gain shift being applied when switched to the 4K mode, and also that resolution is mushy perhaps not 4K.

I wonder if anyone has done further tests?
 
No wonder Sony didn't include it inside the camera. This feature could've definitely swayed people from the f55.
 
Hi Filippo, glad it worked well for you - really nice picture quality too.

Dennis, I've now had a chance to continue a few tests on this workaround which are proving interesting. It's definitely 4K... your 'mushy' reference may well come from the original video I posted after a sleepless night and using an old pants RED 18-50 zoom which really isn't up to 4K at all. As I originally stated, I wasn't proud of those pictures, but that wasn't really the point of the post. I have now shot with more suitable glass, and can confirm the results look stunning.

The apparent shift in gain is more interesting. I'm now convinced there's very little difference between the F5 & F55 firmware. Obviously the sensor board is a totally different physical part, but it looks like Sony have simply differentiated the operation of these cameras by merely restricting access to the menus. All my workaround is doing is switching these functions directly. i.e. not using the menu.

In consequence, when you turn on the 4K on an F5, the firmware is expecting to process the signal from an F55 sensor board... i.e. different base sensitivity and slightly different colour. I'm still working on the best way to handle this, but I'm sure you can guess what options are available.
 
The details are definitely interesting Paul. The gain shift was mentioned a few times on the Sony boards but so far no one seems to have posted anything conclusive.

In the end if the internal boards really are the same (and in many ways that makes complete sense) then it would seem Sony has been indeed caught with their pants down!
 
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That issue with the dynamic range seemed to have been brought up by Allister who sees those kind of details I feel like far beyond anyone else's comprehension as he seems to be the spokesperson for explaining the DR for the F platform.

You and I stood in that parking lot, sun was bright, applied some ND and closed down the iris and the image looked good to our eyes.


i tested the home seems to work. Nevertheless camera had been sold finally. This was interesting news but not enough to sway me. Probably should have bought a F55 to begin with but I just can't warrant a camera in that price range and being a year down the line with the chance I'm sitting on a 20k dollar kit that only does 2k.

Great at high speed HD camera for doc by all means. For cine and commercial id have been smarter with the F55 but nevertheless going back to RED. For all their faults in the past, hey seem to be rather up front about their cameras these days and only seem to work to squeeze more out of the line rather than disable it.

i agree most people who say they should have done what arri did. One camera, buy the feature upgrades a la carte as needed.

Sony will eat crow for his one way or another
 
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