Sony FS5 Overview - Quick Tips by Camera Ambassador

[@SparkFosterFilms]

17:05 - "You don't have LUTs on this camera, which is why I don't think this is a cinema camera" - Actually, this camera has built-in LUTs for Slog2 and Slog3, called Gamma Display Assist. You can enable them from the menu. If you haven't used them yet, I recommend checking them out. When enabled, your Slog2 or Slog3 image will be conformed to standard Rec709 in the monitor/EVF (does not affect actual recording) so you'll get a pretty good idea of what your image will look like after grading. This is super useful to make sure you're exposed properly in Slog. It's true that this camera doesn't support custom LUTs (few cameras do) but if you actually need to view custom LUTs on set, you can simply add a monitor like the Odyssey or even a SmallHD monitor which aren't that expensive. Custom LUTs don't really determine the definition of a cinema camera. Any large sensor, interchangeable lens camera is a cinema camera because the large sensor mimics the look of film due to its similar surface area (in this case Super35mm). Examples of cinema cameras that don't support custom LUTs include the Canon C300, Canon C500, Panasonic AF100, Sony FS700, Sony F3, and almost every Blackmagic Cinema Camera.

[@effinbeeman]

Thank you for the knowledgable review, I am awaiting my FS5 now.

[@VIDJACK]

this is a great, no-nonsense overview of the camera. I was wondering what the heck was going on with the inability to adjust the shutter speed, etc with the function, joystick. Thanks for explaining that incredibly terrible limitation. I, too, am very glad to use this camera to shoot in 1080p HD - and in that mode works well as a cine camera - even better than the C100mk2.

[@elbe1mediahamburg962]

...the xavc-L codec is wonderful, if you use the right post-workflow. Yes, you have to work with proxies, but through the whole process, you have very low amount of data. The codec became a big plus for me ( but I dint like it in the beginning)

[@cameraambassador]

Totally agree, having the right post workflow is crucial. The post process with this codec, like anything else is a learning process, but the more I work with this camera the more I am seeing how much of a benefit this can be, rather than a hassle to work through proxies. Thanks for the comment!

[@tommasomatteodiveronesi4283]

Can you share your workflow for the codec?

[@brmoogma]

I use Da Vinci for editing and grading. There you can work with optimized media or transcode to low res proxies (or high res proxies, if you have a strong workstation). I use DNxHD codecs. But maybe Resolve 14s engine is so fast, that you can edit Xavc-L nativly...we will see...

[@jonathanfurtado6880]

Isn't Premiere Pro's new Proxy workflow super easy to use now? I haven't tried it, but I watched a walkthrough that make it pretty strait forward.

[@SparkFosterFilms]

You don't necessarily need to work with proxies. It depends how fast your computer is. Any decent computer can edit XAVC-L in 1080p without the need for proxies or transcoding. For XAVC-L in 4K, slower machines may benefit from proxies.

[@user-dy1ss8mv8r]

"If then ISO issue is solved internally" switch to gain db - Then zero is always zero in all profiles. : )

[@TTURBOVOLVO]

How does that work? what does it do?

[@jeannotprosmart]

Please help me, when I pressed the record button the LCD go dark. I don't know why ? But if I don't record I can see clearly.

[@Morpheus170]

Sounds like you still need to learn more on how to use this camera. I am perfectly happy with mine.

[@indeit]

there's firmware update now for continues slow motion now i think.

[@SparkFosterFilms]

9:58 "I would rather record in AVCHD..." - I hope you meant to say "XAVC in 1080p". AVCHD is a low quality consumer codec (8bit 4:2:0 color space) with a low bitrate (28mbps max). XAVC on this camera is a broadcast quality codec with 10bit 4:2:2 color and a 50mbps bitrate in 1080p mode. That is significantly higher quality than AVCHD. It is also easier to edit than AVCHD. AVCHD applies more compression and therefore requires more computing power to decode/encode. Your point about shooting 1080p instead of 4K because the lower resolution files are easier to edit is a fair point. I think you just got mixed up on the codecs. When shooting 1080p on this camera, you should use the XAVC codec, not AVCHD. It will be higher quality and easier to edit. There is literally no reason to shoot AVCHD on this camera, unless you need the additional compression to fit the max amount of footage on an SD card, but SD cards are so cheap these days that that's not really a concern. Also, your description of interframe compression is irrelevant, since BOTH XAVC-L (in 4K and 1080p) and AVCHD use interframe compression. If you want intraframe compression, you need to spend the additional money for the FS7 with XAVC-I.

[@AdamChilll]

really helpful! Thank you! :)

[@petrub27]

you may double the focal length but the distortion remains the same

[@Beantownreview]

I've got an FS5 Mark I with up-to-date firmware. Using a Sigma 18-35 mm F1.8 DC lens with MC-11 mount converter, the following message appears on the viewfinder: "Cannot execute functions because of the condition of the lens." The MC-11 firmware is up-to-date; not sure about the lens though. It's a new lens. The Autofocus just won't work. Have you encountered this issue before, and what might be the best way to remedy it? Thanks, Hakan

[@denispiel4065]

Having the same issue but using a Sony FS5 11 and a Leica 50mm Macro lens with an LX_NRX connector. Anyone got any ideas of what needs to be done?

[@Beantownreview]

@@denispiel4065 I don't think there's anything that can be done. A year back, I spoke with the video expert at Hunt's Photo in Malden, MA. If I recall correctly, he said the FS5 only provides the features I wanted with three Sony lenses. It won't work the way I/you want because it's another brands lens.

[@iangrogan5261]

What quick release plate is that you're using? Is that native to your fluid head or third party?

[@cameraambassador]

Native to the V18

[@richardtipple]

So helpful, thank you

[@gerthenriksen8818]

I don't agree that the fs5 is not a cinema camera. It is excellent for shorts and independents. Even without the raw. If you learn how to use the camera for that purpose.

[@neirad537]

Is definitely a cinema camera, if people know what many famous movie have been shoot with they be surprise.

[@SparkFosterFilms]

Seems like the definition of "cinema camera" keeps evolving. When the Sony F3 came out, nobody disputed that it was a cinema camera (my favorite feature film, "Safety Not Guaranteed", was shot on that camera) and yet it only shot 1080p in a lowly 8bit 35mb 4:2:0 codec. The Panasonic AF100 and Canon C100 were also called "cinema cameras" despite even worse specs (28mbps AVCHD and the AF100 could only resolve 600 lines of detail meaning it was basically a standard definition camera upscaled to 1080p). Here comes the FS5, which blows all of those cameras out of the water (10bit 50mbps 4:2:2 codec with super-slow motion) and people are literally grasping at straws to find an excuse why it's not a cinema camera. Honestly the only people saying "it's not a cinema camera" are folks who shelled out $50,000+ for RED and are upset that people are getting SIMILAR (not saying FS5 is the same as RED) features for a tenth of the price. No, Hollywood films are not gonna be shot on FS5. But this camera IS excellent for shorts, independents, and especially documentary filmmaking. The small form factor and ergonomics make it superior to the FS7 for certain types of documentary work.

[@dreamodd]

8:44 > subscribe

[@EDDIEGARAGE]

if you are an ambassador certainly not by Sony