FS5 pt.1

Condenser Microphone

Important:

• The camera is not waterproof. It must be protected from rain and condensation.

• When shooting in cold weather, keep the camera in the bag for (at least) 30 minutes when you come indoors. This will avoid condensation on the camera and electronics.

Quick Start Guide

• By default, the viewfinder is off when the LCD is on.

• The power switch for the LCD is on the top of the LCD.

Switching Between LCD and Viewfinder

• Menu/ Display Set/ VF/LCD Panel/

• You have two choices in this menu setting:

• 1. LCD Panel: this turns off the viewfinder (eyepiece)

• 2. AUTO: this will turn off the LCD when you put your eye up to the viewfinder. You may accidentally turn off the LCD using this setting hence the first choice.

Recommended format XAVC HD – SDXC memory cards required, class 10, U1 or faster, 64GB. XAVC HD will not record onto 34GB card, you must use at least 64GB.

• XAVC HD 1080 50 Mbps 155 mins. per card

• 4K QFHD 100 Mbps 75 mins. per card

Slot Select Button: to determine which card to record to

Making Menu Selections:

Menu button and SEL/SET wheel

Menu: first important settings:

• Go to System Menu/ Media Format and format both SD cards – this will erase all data from the previous user

• Go to System Menu/Initialize to – this sets all menu items back to the factory presets

Recording Formats

HD Frame Rates:

• Progressive PAL: 25p, 50p

• Interlaced PAL: 50i (50 fields or 25 fps interlaced)

• Progressive NTSC:

• 24p (23.98 fps), 30p (29.97 fps) or 60p (59.94 fps)

• Interlaced NTSC:

• 60i (60 fields or 29.97 fps interlaced)

Choosing a Frame Rate

• NEVER shoot interlaced frame rates.

• NEVER shoot NTSC frame rates, unless you are planning to show your work exclusively in an NTSC region (North and South American, Singapore, Indonesia etc.)

Common Notation for PAL Video Formats

• vertical resolution/frame rate/scan type

• 1080 50p = 1920 x 1080 50 fps progressive

• 1080 25p = 1920 x 1080 25 fps progressive

Three Recording Codecs

XAVC HD, XAVC QFHD 4K, AVCHD

• XAVC HD 4:2:2 MPEG 4 Long Profile (10 bit)

• HD 1920x1080 50p, 25p at 50 mbps

• Slow motion HD in 1920x1080 up to 400p

• Slow motion HD in 1280x720 up to 800p

• XAVC QFHD 4K UHD 3840x2160

• 4:2:0 MPEG 4 Long Profile (8 Bit)

• 4K UHD 25p at 100 mbps

• AVCHD- lower quality HD format (DON’T USE THIS)

Three criteria for choosing a recording format:

• 1. a PAL frame rate

• 2. a progressive frame rate: 25p for normal motion or 50p for faster motion (50p is for shooting slow motion, it is not a standard video speed)

• 3. the best quality codec: XAVC HD for HD video

• 4. the highest bit rate of that codec: 50 mbps for XAVC HD, 100 mbps for 4K QFHD

4K video is not recommended.

• You may assume that 4K video is the best quality recording format. This is a false assumption.

• 4K QFHD is a larger but lower quality image than XAVC HD. It has about half of the colour information of XAVC HD, making it much harder to colour correct. It is also more prone to image noise at higher ISOs.

Reason not to use 4K

• 4K is harder to edit. Computers work harder to edit 4K XAVC video because it is highly compressed

Menu: Choosing a Recording Format

• Rec/Out Set Menu/ Rec Set

• Choose the 50Mbps option for XAVC HD

Menu: Choosing a Recording Format

• Choose the 100Mbps option for 4K UHD (although 4K is not recommended)

Menu: Card Recording Options

• Relay Rec will allow you to record between card A and B seamlessly (without gaps)

• Simultaneously Rec will record to both cards at once or you can assign different record buttons on the camera to each card

Audio Controls

Audio Inputs

The camera has a built-in stereo microphone on the handle.

It has also has two XLR inputs and a hot shoe. Use the condenser microphone included in the camera kit (side pocket of the bag).

The built-in microphone. It will pick up room noise.

Attaching the Microphone

• The condenser microphone attaches to XLR INPUT 2. Choose the setting MIC +48V

• There is a clip for the cable underneath the XLR input

Second XLR Input (Input 1)

If you have other microphones, the second XLR input is on the back of the camera behind the hand grip.

You may have to move the grip in order to set the LINE/MIC level for the input.

This button adjusts the grip position.

Menu: Choosing Audio Input

When the external condenser microphone is plugged in choose:

Audio Set Menu/ CH2 Input Select/Input 2.

CH1 Input Select can remain on Internal Mic if there is no other microphone– this is the stereo microphone on the handle. You don’t have to use this channel.

Audio Controls- Auto or Manual

Flip down the little door to adjust the audio volume levels manually.

The AUTO setting will adjust levels automatically. This is more convenient but can result in background noise changing in volume.

Headphone Output

Headphone level is controlled in the Audio Set menu.

Auto Exposure Controls

FULL AUTO

• You do want to aim to have full manual control of the image you are capturing, but the camera does have a FULL AUTO mode with AUTO exposure, AUTO white balance and AUTO focus.

Full Auto Exposure: Full Auto Button

Toggle this button to go from Full Manual Exposure to Auto Exposure.

FULL AUTO will tend to adjust the ISO and IRIS settings but keep the SHUTTER setting constant. Normally the shutter should be kept at double the frame rate.

FULL AUTO also adjusts white balance automatically but slowly.

Full Auto exposure in Display

• Notice the “A” symbol next to the IRIS, ISO and Shutter speed in the display.

• Keep an eye on these settings when in FULL AUTO mode

• If your ISO goes above 3200, you may have noise in the image. Don’t confuse 3200 ISO with 32000 ISO!

1/50th of a second is the correct shutter speed for 25p video.

AE Shift

The AE SHIFT menu item controls automatic exposure compensation. Every shot can be deliberately under or overexposed by the camera.

This is most useful when used with Picture Profile settings that use SLOG.

AE Shift

AE SHIFT level indicator

If you are shooting in auto exposure but not using a SLOG picture profile then there should be no AE Shift ( 0 EV). Check this in the LCD display or menu setting.

If you are shooting in a SLOG 2 or SLOG 3 picture profile with auto exposure, then the AE SHIFT should be set to 1.5 EV. There is detailed information on Picture Profiles later in this guide.

Focus Controls

Manual Focus:

Auto/Manual Focus

Focus Magnification button on Handle

Control Focus with the smaller width ring.

Toggle on Camera Side

Auto Focus:

For continuous Auto Focus, move the switch to AUTO

In Manual Focus, you can get an auto focus momentarily by pressing the PUSH AUTO button below.

Focus Peaking is available if you need it, in the DISPLAY SET/ PEAKING menu.

About the Lens

Sony E PZ 18-105mm f/4 G OSS Lens

This is the kit lens.

Other lenses that are not Sony E mount will require an adapter

Steady Shot (Stabilization)

• This is for lenses that support Steady shot (like the Sony E Mount on the camera).

• Turn off Steady Shot when the camera is on a tripod

• Do not use it unless it is really necessary ie. bumpy hand held shot, as it causes a slight deterioration to the image

• CAMERA/PAINT MENU /STEADYSHOT

Slow Motion Recording

• The camera has two possible slow motion speeds: a S&Q motion setting and a Super Slow Motion setting.

• In each of these settings, there is a REC FORMAT, the recording format that determines how the clip will be interpreted by editing software like Avid/Premiere, and a FRAME RATE, the actual frame rate that the camera is shooting in.

• When shooting slow motion, the REC FORMAT will always be fewer frames per second than the FRAME RATE.

• These settings can be made in Menu/ Camera/Paint/ Slow&Quick

• S&Q settings can go up to 50 fps

• Super Slow Motion settings can go up to 800 fps

Slow and Quick Shooting

Press the S&Q button to toggle between the normal frame rate, the slow motion frame rate and super slow motion frame rate.

The frame rate will appear in the LCD display.

You cannot record sound in S&Q mode.

Adjust your shutter speed accordingly

• The higher your frame rate, the higher the shutter speed that will be required to avoid motion blur.

• Remember that the rule of thumb for shutter speed is double the frame rate

• At 50 fps you need a shutter speed of 1/100th of a second

• At 100 fps: 1/200th of a second

• At 250 fps: 1/500th of a second

• At 500 fps: 1/1000th of a second

• The higher the shutter speed; the greater amount of light you will need.

Super Slow Motion Trigger

You must set the Rec Timing for super slow motion frame rates (frame rates above 50p).

It is not possible to shoot at High Frame Rates for long durations.

Set the REC TIMING menu item for when to trigger the recording. START TRIGGER begins recording once you press the record button.

Recording Times for Slow Motion

• The recording times for really high frame rates are limited.

• The amount of time you can record in slow motion depends on the amount of space on the SD card. Ideally, shoot with an empty SD card.

• For example, with the REC FORMAT at 1080 25p and the FRAME RATE at 250 fps you will get about one minute of recording time.

Manual Exposure Settings

Manual exposure relies on the following things:

• White Balance

• Iris

• Shutter Speed

• ISO

• ND filter settings

Manual White Balance

The camera will White Balance in FULL AUTO Mode but

Manual White Balance is preferable. The WHT BAL button toggles between manual and auto white balance.

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).

Point the camera at a white card with light falling on it.

Press the WB SET button on the front of the camera.

The Preset Switch is controlled by the Camera Menu:

CAMERA PAINT/WB PRESET. There are indoor/outdoor and color temperature presets.

Manual White Balance does not work in SLOG. The white balance is set in the SLOG Picture Profile settings.

White Balance Menu Settings

On the WB toggle switch on the side of the camera, the last setting PRESET is determined by the WB TEMP SET in the CAMERA/PAINT menu.

Manual Exposure

• In complete manual exposure there is no “A” Symbol next to ISO, IRIS or SHUTTER.

• The ISO, WB and SHUTTER buttons will toggle between AUTO and Manual.

• Always keep the Shutter on Manual and at twice the frame rate, unless you want a motion effect.

ISO/Gain Settings

The ISO/Gain switches can be set to control either ISO or GAIN presets.

There are three presets (L, M and H) set in the Camera/Paint menu under ISO/GAIN SEL.

So you can have three GAIN or three ISO settings to choose from.

ISO or GAIN?

• If you are not shooting with SLOG Picture Profiles (PP7 to PP9) then use GAIN settings as your presets.

• 0dB gain is the native ISO of the camera. This will ensure that there is no noise in the image. If you need more light sensitivity, increase to the minimum amount of GAIN. Start with 3 dB.

• If you are shooting with a SLOG Picture Profile, then use ISO settings as your presets. 3200 ISO will give you the maximum dynamic range of the camera, and (when properly exposed) no visible noise.

• You may also wish to use ISO settings if you are judging exposure with a handheld light meter.

Manual IRIS adjustments

There are two wheels to adjust the IRIS.

To use the wheel on side of the camera, select the IRIS switch next to the wheel.

Or use the wheel on the hand grip.

Switch to IRIS

Histogram

• Keep the Histogram in the Display to judge overall contrast and whether areas are over or underexposed.

• Display Set Menu/ HISTOGRAM

• In a studio situation, you may plug in an external waveform monitor to judge exposure more accurately.

Zebra Stripes

• Zebra Stripes are useful but distracting.

• Assign a Zebra Stripe level to judge overexposure (a level of 100 IRE) or at another level to determine exposure for a specific feature (like flesh tone highlights at 70 IRE).

• Display Set Menu/ ZEBRA

Assigning Zebra Stripes to a Button

• It helps to assign Zebra Stripes to a button on the camera (button 5 on the Handle) so they can be easily toggled ON and OFF

System Menu/Assign Button

Note that there are two zebra stripe level settings. When you press the assigned zebra stripe button then you will be selecting the first, then the second setting and then back to the first setting again.

It may help to set both settings to the same level.

ND filter

ND Filters cut light (make the image darker).

By default the ND filter knob should always be in the CLEAR position.

Using ND filter Presets

The ND filter knob functions like a normal ND preset toggle switch when the switch below is set to PRESET.

You can set three ND levels in the CAMERA/PAINT menu.

Using the Variable ND filter

Move the ND filter knob to the highest (darkest) preset, turn the switch below to VARIABLE and then turn the switch below that to ND.

The wheel will then adjust the ND level variably.

The variable ND is useful if you want to maintain a consistent f stop (IRIS) in variable light conditions. It is a simple way to adjust exposure without affecting depth of field.

Switch to Variable

Switch to ND

Manual Shutter Control

Press the SHUTTER button to toggle between manual and auto shutter. In manual, move the SEL/SET wheel to adjust shutter speed and then press the SEL/SET wheel to maintain that speed.

If the shutter speed falls below twice the frame rate, you will have motion blur.

The faster the shutter speed the more staccato-like the motion.

Don’t adjust shutter unless you want a motion effect.

Keep it at twice the frame rate.

Picture Profiles

Working with the default Picture Profiles

• This guide refers to the default settings in each Picture Profile.

• Each Picture Profile can be adjusted, therefore it is wise to intialize the menu settings of the camera before you begin shooting.

• Go to System Menu/Initialize to – this sets all menu items back to the factory presets

• As you become more familiar with the Profiles, you may wish to adjust them to suit your tastes.

Picture Profiles

• Picture Profiles determine the look of the image: they are presets that determine image contrast, colour and dynamic range. They are similar to Picture Styles in a Canon DSLR camera, but more complex.

• The Picture Profiles may be OFF. You do not have to choose one. However, it is recommended.

• There are nine to choose from.

• There is a button on the camera that takes you directly to the Picture Profile choices.

Selecting Picture Profiles in the Camera Paint Menu

Dynamic Range

• The most obvious difference between the Picture Profiles is the increase in the dynamic range of the camera.

• Dynamic Range refers to the range of luminance that the camera can capture. The greater the dynamic range; the more details you will see in the highlights of your image.

• Standard Gamma Profiles can capture 5 to 6 stops of light.

• SLOG Profiles may capture up to 13 stops of light.

• Cinegamma Profiles capture somewhere in between those two!

• The following images (unless otherwise noted) are taken straight from the camera.

Picture Profiles 1 (PP1)

• This is the standard look of the camera.

• This is fine to use if you are not shooting in a high contrast situation or you don’t want details in the highlights.

• If you expose correctly, the image will require very little correction in post production.

• Expose a white card at 100 percent IRE.

• Expose a grey card at 45 percent.

Picture Profile 02 (PP2)

• This creates very contrasty images by losing information in the shadows. The colours are more saturated than PP01. The only reason to use PP01 would be to mimic the look of certain DSLR cameras that have about 3 stops of dynamic range.

• However, it is a lot easier to manipulate a more dynamic image in post production than to rely on an in-camera effect.

• Avoid this profile.

Picture Profiles 3 (PP3)

• Like PP1, PP3 is a standard HD gamma (REC.709) preset that, when properly exposed, will require very little correction in post production.

• The image will have slightly less contrast than PP01.

• Expose a white card at 100 percent IRE.

• Expose a grey card at 45 percent.

Picture Profiles 4 (PP4)

• This is like PP 03 but the colours are more saturated.

• I recommend PP3 and PP4 as good default profiles to use if you are using the camera for the first time or are new to video production.

• Expose a white card at 100 percent IRE.

• Expose a grey card at 45 percent.

Picture Profiles 5 and 6 (PP5 and PP6)

• These are Cinegamma profiles that provide a greater dynamic range than the standard gamma profiles of PP3 and PP4 but require very little correction in post production compared to SLOG profiles.

• The colours will be quite a bit less saturated than the standard gamma images but there can be much more detail in the shadow and highlight areas of the image.

• It is easier to judge exposure in these profiles than in SLOG profiles where the image looks washed out in the viewfinder.

• The only difference between PP5 and PP6 is that PP6 will prevent the highlights from going beyond 100 IRE, making the image slightly darker.

• Expose a white card at 95 to 100 percent IRE (a little bit underexposed).

• Expose a grey card at 40 to 45 percent IRE (a little bit underexposed).

Picture Profiles 7,8 and 9 (PP7, PP8, PP9)

• These are high dynamic range profiles that use SLOG gamma.

• These profiles use logarithmic sampling of light instead of linear sampling.

• SLOG profiles are for shooting in high contrast situations (outside on a bright day for example).

• The image will look low contrast (washed out) in the viewfinder or LCD panel. That is how it will actually appear. Do not use gamma assist on the LCD panel to correct it or you risk overexposing your image.

• Images shot with SLOG profiles must be “normalized” or corrected in post production.

• Once the contrast is corrected, the colour saturation appears normal.

SLOG 2 and SLOG 3

• PP7 uses SLOG 2

• PP8 and PP9 use SLOG 3

• SLOG 2 is easier to look at in the LCD monitor (it has more contrast).

• SLOG 3 looks very washed out in the monitor so it is harder to judge exposure.

• You have more flexibility when correcting SLOG 3 in post production.

• The next section provides detailed information on exposing SLOG.

High Dynamic Range (SLOG)

Why High Dynamic Range?

• Shooting in High Dynamic range solves one persistent difficulty of video imaging since it’s creation: how to maintain image detail in the shadows and highlights simultaneously.

• Although it can be more complicated to expose correctly, High Dynamic Range video is useful for situations of high contrast.

• High Dynamic range video uses logorithmic sampling. Sony calls their version of this: SLog.

Exposure Using Linear Sampling

Linear sampling does not provide enough detail to reproduce the luminance range that the eye can

perceive. So it discards highlight information. Any video camera that cannot shoot in high dynamic range, discards this information.

Diagrams from: Digital Compositing for Film and Video, Third Edition: Steve Wright, Focal Press 2010.

Log sampling varies the luminance distance between samples. There are greater jumps between samples in the highlight areas where we perceive less variation.

Linear: mathematically consistent Log: perceptually consistent

Exposure Using Log Sampling

Log sampling is capable of reproducing the entire perceived range of luminance. High dynamic range cameras also use a higher bit rate codec. In this chart we have 10 bit sampling (1024 variations). The Sony FS5 uses 10 bits in HD only.

What is Image Noise?

• Image noise occurs when there are not enough samples to accurately reproduce the variations of light and colour.

• We get noise in the shadow areas of the image when shooting because reproducing low light requires a high sampling rate.

• One solution to eliminate noise is to eliminate this shadow area from our sample range.

• Push the image information up into the lower mid tones and highlights in the histogram where the sampling rate is more sufficient for a greater amount of light.

SLOG exposure

• Keep your picture information in the mid and highlight area.

• You never want to be in the situation of having to raise your shadow areas in post production- this creates noise.

• You always want to lower the mid tones and highlights in post production when “normalizing” the shot (making the contrast seem correct on a computer display).

http://www.xdcam-user.com/2016/06/pxw-fs5-tutorial-videos/

Fs5 Picture Profiles:

https://www.youtube.com/watch?v=0Z7hV4Tho_o

Fs5 Advanced Features:

https://www.youtube.com/watch?v=pVGgBCTGTuU&t=9s

The website of Alister Chapman, cinematographer, has two videos on the FS5 with information on how to shoot with SLOG picture profiles. I recommend this site.

When to use SLOG

• When you have a situation with shadows and bright highlights and you want to preserve this dynamic range, shoot in SLOG.

• Do not use SLOG Picture Profiles when there are no highlights.

• If the situation is dark, shadows and mids only, shoot with standard REC.709 picture profiles like PP3 or PP4.

• SLOG has twice the dynamic range of Rec.709 Gamut but it favours highlight information.

• It is much easier to shoot in SLOG with the FS5 in HD 1080p than 4K.

• This is because HD is a 10 bit 4.2.2 image and 4K is an 8 Bit 4.2.0 image

SLOG: White Balance

• When shooting in SLOG, the white balance must be set in the Picture Profile settings/COLOR

MODE

• Set the correct colour temperature for the correct S-GAMUT setting

• For SLOG 2 use a S-Gamut setting plus temp. for SLOG 3 use a S-Gamut3.Cine setting plus temp.

Common Color Temperature Settings

• LCD Monitor: 6500K

• Daylight: 5500 K

• Florescent Indoor: 4300K

• Tungsten Indoor Light or sodium Street lighting at Night: 3200K

• Incandescent Indoor Light: 2500K

SLOG: Gamma Display Assist

• Sony has a provided a Gamma Display Assist to normalize the LCD image when shooting in SLOG

• Don’t use it. Turn it off.

• Because you are overexposing, the image in the LCD will look washed out.

• Use the Histogram and the Zebra Stripes to judge exposure.

• The FS5 cannot import LUTs.

SLOG and ISO settings

• The higher ISO, the more the dynamic range is reduced.

• ISO 3200 in SLOG gives you the maximum dynamic range.

• Changing ISO to AUTO will cause it to change so keep exposure on manual at 3200 ISO if possible.

Shooting SLOG: OVEREXPOSE

You must overexpose for SLOG shooting. Ideally you will have no important information in the shadow areas of your image.

The easiest way to overexpose properly is to use Auto IRIS and set the AE shift to 1.5 EV. This will overexpose the image by 1.5 stops.

You cannot use FULL AUTO when shooting SLOG. Use manual exposure control but AUTO IRIS.

SLOG: Zebra Stripes

• If you want to manually expose using SLOG consider using the Zebra Stripes as a reference.

• Set the Zebra Level to 70

• Use this as a reference for flesh tone highlights.

SLOG: Manual Exposure

• Use the histogram when exposing SLOG

• Push all the information into the mids and highlights on the histogram.

• Keep all important information above 30 IRE (one third of the way up on your histogram).

• Think that all your image information will be shifted towards the shadow areas later on. So you must leave some room.

• You can overexpose by 1.5 to 2.5 stops.

• 2 Stops over seems ideal. Darker skin tone areas will be at 70 IRE, your zebra stripe level.

• At 3 stops of overexposure you lose too much colour information.

S LOG and Overexposure

• You never want to underexpose with SLOG but you can overexpose.

• Generally the overexposed highlights will blow out more gradually than in Rec.709. You may want this effect.

• You will be able to recover some detail in slightly overexposed areas.

NB

It is good practice to reset your camera back to default settings before setting up your project to clear all the previous users’ settings.

Aim to have full manual control of your camera.

Shoot at 25fps (picture and sound) unless you are shooting in slow motion.

If you are shooting slo mo make sure your frame rate is a divisible of 25fps ie.50 fps, 75fps.

Do not mix frame rates within the one project ie. 25fps and 24fps. Be particularly aware of this if shooting on different cameras.

Stick to your chosen aspect ratio for the duration of your project.

Only ever shoot ‘Progressive’, never shoot ‘Interlaced’.

Enjoy using the FS5!