Copyright 2010-2021 EOSHD.com Focus, Zoom, Iris, Interaxial. Sign In. Cheap, but not nasty tripod. Suddenly we had a … Continued Enter your email address to subscribe to this blog and receive notifications of new posts by email. × Low-light performance on the FS5 was adequate. “Neat Video” works very well at cleaning up a noisy image as do the various NR tools in the paid versions of DaVinci Resolve. It however offers a lot in the way of portability with it’s small profile and a slow motion mode akin to that in the RX100 IV and RX10 II. Use it on an FS5 with a speedbooster and the same thing happens, all of the light is compressed down, which makes it brighter and all of this now brighter light falls on 4K’s worth of pixels. Detail Correction, Crispening, Aperture and Image Sharpness, Log Style Picture Profiles for PMW-F3 and EX1R. Point the camera at a white card with light falling on it. I have read a lot about the problems of noise or artifacts on the FS5, I would like to shoot in Slog mode (2 or 3 ?) Clear editor. Today3D FIZ controller. Aliens Might Think The Earth Is Perpetually Dark! I plan on shooting the whole thing in CDNG RAW for as much bit rate and color depth as possible but I’m really afraid of having noise in the shadows. Sonnet QIO Review. LUT’s from Sony for the FS5. This is perfect timing as I’m shooting a short horror film in the fall with the FS5. Compared to cameras from 6 or 7 years ago it’s actually pretty sensitive. From the outside it looks little different to the Sony FS5. This site uses Akismet to reduce spam. A little handheld camcorder that itself has become incredibly popular. ND The FS7 has a built-in ND filter with the following settings - Clear, 1/4, 1/16 and 1/64. Element Technica Micron Shoulder Mount System. Unfortunately you need Canons ff leses to use the speedbooster and most of them aren’t made for Video like the sony 28135 on a ff camera. The FS5 will allow you to shoot at 240fps in full 1080 HD but it does so using an 8 second buffer. Sony FS5 in a Multicam Studio Set up, options for controlling the cameras remotely Hi everyone, I'm looking to improve the cameras in the studio setup I have where I work, and I like the image quality from Sony FS5/FS7s but I'm trying to figure if it's at all possible to control these (the zoom, focus, iris, iso etc) from the studio desk. The FX6 comes with all of the bells and whistles that the FS5 II, but has a larger sensor, new media options, higher frame rates, XAVC-I 10bit 422 internal … What is it and what can be done about it? True! You want to capture as much of the available light as you can and squeeze it down onto the FS5’s sensor. AF with adapters and 3rd party lenses is never good. Low Light Performance. These post production  tools work best when the noise is clean. New addition to Sony's Cinema Line On The Way. The Ultimate Exposure Guides for Sony Cameras FX9/FS5/FS7/F5/F55. For many years now, Sony has had great success in selling REC709 TV cameras to the broadcast market, and clearly, having a consistent ‘look’ across the whole range was important. New Venice Look LUT's Version 3. Although the FS5 II’s ISO limits are clear, it’s incredible to see just how far you can push the camera’s ISO. But it also suggests that it is only around half as sensitive as the king of low light, the Sony A7S. Feel free to post up any questions you might have. to take advantage of large range in post-production, is it a bad idea ? But you will have a problem if you start trying to lift the shadows to pull more detail out of them. So for my particular example, since I’m shooting 12 bit RAW, I know you said Sony recommends going through PP7 SLOG2. Also for: Pxw-fs5k. Yes that’s a perfect example of how I want it to look! Hi, I'm new in this forum and to the Sony FS5. To do a manual white balance, set the WHIT BAL switch on the side of the camera to either A or B (you can store two manual WB settings). New s709 LUT For The FX6 and FX9 That's Less Green Than The Sony LUT. Sony Alpha 1. The FS5 starts to look noticeably noisy the moment you get over 3200 ISO. I’m sure you are already aware of this, but for the benefit of others that might read this: 1: Raw won’t make the camera more sensitive or improve it’s ability to shoot in low light. Rubbish. While the FX6 fits seamlessly into a pro-cine on-set workflow, it also offers several features that are a boon for a single-operator user.   Your previous content has been restored. You can post now and register later. The final test for both cameras was to shoot a subject lit by overhead lights only in order to asses overall color and skin tones. I recently purchased a Sony FS5 video camera. The native sensitivity is easily set by setting the cameras Gain/ISO selection (in the camera menu) to Gain and to set …   Your link has been automatically embedded. At the end of the film we are going to have a scene where the main character is in the forest with a camping lantern heading towards a mysterious bright glowing light deep into the forest. If you are thinking of using the Sony f4 lens for very low light… well frankly you may as well not bother. Michel Balut, This works well for most situations and it will help limit the noise levels as it keeps the saturation fairly low keeping the noisy blue channel in check. The smaller pixels are about half as sensitive, but now the light is twice as bright, so the end result is similar. Wifeng WF717 Tripod. New addition to Sony’s Cinema Line On The Way. Restore formatting, × Atomos Adds Raw Over SDI For The Ninja V via the AtomX. The FS7 is in general, a somewhat noisy camera in Slog3 though so exposing to the right as much as you can is a good idea. The bad: Expensive, no IBIS, 4K is only 8 bit 4:2:0, poor battery life, terrible menus, dreadful low light performance (tested versus the a6500). Or is possible to get the same benefits going through SLOG2 and (if I’m not mistaken) be able to choose between SLOG2 and 3 in post production during debayer and get the same benefits. It is the contrast between the bright light and dark shadows that will make it look like dark night time. So I would probably avoid these. The most important thing to do is to make the optical system as efficient as possible. Basically LOG on any camera is good for dealing with high DR.. if there isnt any .. its not always the best call data distribution wise.. esp with low light scenes.. with F5/55 I would go to one of the Hypergamma setting .. (Cine Gamma Fs5).. very little data in low light with Slog.. Be careful with the Fs5.. I’d much rather have loss in information in the highlights than the shadows for this but I don’t want to have less flexibility in post with the standard 50mbps files that we get from standard profiles. In good light conditions, you generally want to keep your ISO level down for optimal file quality, then set the desired shutter speed and aperture according to the type of subject (still or … Hope you find the video useful! The standard picture profile isn’t a bad choice for low light but you might want to look at using cinegamma 3. Previously it had been a paid upgrade as part of the RGB upgrade upon initial release. Sony also includes their electronic variable ND filter first released in the FS5. 7 stops of variable ND gives outdoor shooters loads of latitude to keep the f-stop low. Accsoon Cineeye 2S Wireless Video Link with Streaming Function. The PXW-FS5 also offers a 4x & 8x Focus Magnification window, which the user can reposition, for precise manual focus checking and adjustment. The lens is THE most important factor in low light. So get the biggest, brightest, most powerful lamp you can for the mysterious light coming through the trees. The light is split evenly across 4K’s worth of pixels. I know you’ve mentioned before that SLOG3 has a slight edge in data in the shadows because of a slight knee in the shadow curve on SLOG2. But if you do it all well you end up with a great image that is very kneadable in post. But it must be understood that 12-bit RAW is not as good as the 16-bit RAW available from high-end cameras like Sony’s PMW-F5 or F55 when used with the AXS-R5 or … We usually use our main Sony Fs7 camera in the flat profile Cine EI SLog3 mode, which is fantastic for daylight filming due to its massive 14 stop dynamic range. None of the profiles make the camera more sensitive, the sensitivity is governed by the sensor itself and all the profiles do is alter the way gain is distributed across the image. to take advantage of large range in post-production, is it a bad idea ? It makes setting the exposure a whole lot easier.Gamma Display Assist can be turned on in the viewfinder menu. When I go up to Norway to shoot the Aurora I use f1.4 and f1.8 lenses. For best results in very low light, try PP3 (Rec 709/Pro). Learn how your comment data is processed. Low Light As for low lights, there is a clear difference between both cameras. what do you think ? ; Page 4: About This Guide About this guide • This guide explains the basic … Nevertheless, the EVA1’s noise patterns tend to look a bit video-ish when compared to the Sony FS5, so keep that in mind when shooting in low light with the V-Log profile. I’ve never shot raw but my understanding is that on the FS5 the best settings are through pp7 Slog2 and.cine color profile. January 16, 2016 In: Cameras. The other settings 1 through 6 are more common. The third camera in Sony’s Cinema Line, the Sony FX6 is a full-frame cinema camera that's lightweight and fully featured. Sony A7 III, A7R III, A9 Low Light Settings. On the PXW-FS5 the native sensitivity is set ISO 3200 with Slog-3. × Video cameras are least sensitive in the blue channel. Thank you for the advice . By that I mean well defined. The FS5’s light weight and highly compact form factor makes it great for handheld operation. Venice is way to heavy for documentary work and quite expensive.. The RAW output from the FS5 is 12-bit and that is significantly better than the 8-bit recordings you get in UHD. Required fields are marked *. So don’t go crazy with the gain or use very high ISO’s as the post production NR won’t work as well on footage that already has a lot of in camera NR applied. Hi, I'm new in this forum and to the Sony FS5.I have to shoot a documentary in low light soon.I have read a lot about the problems of noise or artifacts on the FS5, I would like to shoot in Slog mode (2 or 3 ?) So what can you do if shooting in low light?