F55: Version 2.0 is out

That's a nice list of new features. Ha, the list has already been edited. They also tell you the things they are fixing in v2.1.
 
As exciting as it is, I try to stay one or two versions behind.


EDIT: Holy CRAP they released Waveform and Histogram in this release... oh man its about bloody time! Now I'm a bit excited.

...and false color is also being introduced specifically for the DVF-EL100 OLED VF and the DVF-L700 viewfinder, monitor......... WOW WOW WOW

MORE WOW - "The rotary dial is now enabled for audio level adjustments" according to Sony !!!
 
1. High Frame Rate (HFR) Recording

Pal rates?

10. Waveform, Vector and Histogram monitor on VF and SDI OUT

On the HDMI?


12. User Box Marker

thi could show 16:9 crop? very good if so

13. Focus Assist Indicator

EVF SDI HDMI?

23. Support new XQD memory card

At what codecs/ frame rates
 
powervideo said:
I give you a day until you give up and install 2.0....
Click to expand...

Updating now. :cool:

67% complete.



morgan_moore said:
1. High Frame Rate (HFR) Recording

Pal rates?

10. Waveform, Vector and Histogram monitor on VF and SDI OUT

On the HDMI?


12. User Box Marker

thi could show 16:9 crop? very good if so

13. Focus Assist Indicator

EVF SDI HDMI?

23. Support new XQD memory card

At what codecs/ frame rates
Click to expand...

What do you mean PAL rates? the camera is already doing 25/50p and this just enables 120p for HD 422, 120p/180p/240p for 2k raw.

I'm pretty sure the exposure tools will output on HDMI, I can try to test that out later - although here in North America Sony does not think it is a big deal that their HDMI output does not work in 24p or 60p modes. It does work in 25p, 29p, 50p... and 24p/60p HDMI out did work on the F3 by the way.

I have to check out what the focus assist indicator is all about, sounds exciting.

XQD appartently are pretty fast, if not faster than the Pro+ cards. If this is the case (and I am in no position to actually test it) you should be able to record to it the same as you would a Pro+ card. I'm sure more people will be testing this soon.
 
starcentral said:
What do you mean PAL rates?
Click to expand...

Sorry that was not clear

1) With the FS100/700 if you are in mode PAL you get 50p/200p max unless you dick about changing to NTSC (and then you have to shoot 24 or 30 and then reconform to your 25)

2) Im guessing that we actually need 200, 100 (multiples of 25) for best flicker resistance in 50hz countries
 
i see what you mean, right now they are fixed frame rates. You would almost expect 150 and 250 for pal land. Having said that in December the S&Q will be released right up to 180fps (for HD) so you will be able to dial it in, and 240p for 2k RAW.

Looks from the other thread here that 2k XAVC is disappointing and exhibits a lot of aliasing, hence why Sony announced that OLPF only weeks ago.

A little disappointment here on my end too, I am looking at the new exposure tools and they show up as tiny thumbnail in the bottom corner of the viewfinder so far I dont think there is a way to make them full screen (I hope I'm wrong on that) but without seeing a WM full screen with markings it is pretty useless.
 
Here is what the new "focus assist indicator" and "focus area marker" look like. The stronger the meter to the right, the more in focus you are.

Note the histogram in this firmware feature, a thumbnail in the lower right hand corner without any markings at all.

IMG_00000399_zpsa8aa8a1a.jpg
 
Thanks for the useful image.

That WFM looks about the same size as the EX1/FS100,

To me it is useful, but Id sure like a full frame version too.

It seems like sony are naughty kids, you have to force them to do their homework and then they do a rushed job of it before returning to their Playstations.

S
 
For the histogram I don't see an issue with a exposure tool window that small, but for exposing slog2 (way more filmic than rec709 or HG's) where middle grey is 32% an 90% white is 62% that tiny little graph is certainly not going to help folks.
 
Everyone works different I know, but for slog2 where middle grey is critical I would take a lightmeter that I have properly calibrated to my camera + lenses over a histogram. This is what I've been using since the F55 came out, and I shoot 99% slog2 with exception to a few projects where the producers did not care about the final look, nor have time/money for post.

Where I would use a histogram however and where size wouldn't matter for me is if I was shooting RAW and I wanted to expose to the right without clipping. But even then my habits have me using a meter all the time so that from shot to shot, scene to scene, day to day, I can deliver consistent skin exposures in post.

But like I said everyone has their own approach.
 
Simply as a solo op and maybe standing in ditch in the shade with my subject in the sun, maybe 20m away (Im on a long) I dont really see light meters as practical.. onboard tools are required and at this price-point should be of top quality

the WFM should be fulscreen and even change colour on that 32 mark

Anyway this offering - which is straight off the firmware of my NEX5n is better than nothing :)

S
 
...nah, I work solo a lot too, you take one quick meter read out in the direct sun as you position your talent and you know where your skin tone will land in-camera and the lens cap isn't even off your camera yet.. or the camera isn't even out of your hardcase yet.

Even if people don't want to use a light meter to determine their exposure (which is fine) a meter will still tell you that you have the same lighting on a group of people sitting around a table letting you adjust the lighting before the camera doesn't even come out yet.

I mention "before the camera is out" a few times because working solo I rarely leave my camera un-attended while I go play around with lights. That is just asking for it to get knocked over.

Anyway like I said, everyone goes about it differently.. :happy:
 
starcentral said:
I think I'm just paranoid.

Nate you ever squeeze out Alexa highlights from the F55 slog2 mode and/or Davinci?
Click to expand...

Very close. The key is to make sure the S-Log2 is (under)exposed properly, and make sure the LUT in post has a huge highlight roll-off built in, effectively "re-doing" the highlights the Sony creates. The ACES RRT/ODTs do this, and some LUTs I've made based on ACES do this as well.

Week before last I had a shoot day light exteriors out at a race track, no lighting or bounce, Alexa was A cam and my 55 was B cam. You can't tell the difference between the two really with a tiny bit of tweaking. Turning on ACES in Resolve not only makes them look nice, but gets them 90% matching as well with zero work. Last 10% of matching took a minute.
 
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