Friday, November 30, 2012

Another Sony "TheNewF" Webchat Dec 4th

From Sony Professional Europe on Facebook.

Sony held a webchat a few weeks back (see: Sony "NewF" Webchat) and now they are going to do another one on the 4th:
Don't forget to sign up for a reminder to join our #TheNewF Cinematographer's Webchat on Tuesday.

We'll have cinematographers and product experts who have worked with both cameras answering questions on December 4th. Get your questions ready and register for a reminder here:

“Dig”, was written and directed by Martin Scalan and shot in 4K using the PMW-F55 by cinematographer Steve Lawes on location in Wales.

“Images”, was directed by Lucile Hadzihalilovic and was shot in XAVC HD using the PMW-F5, by Dominique Colin on location in France.

Quick Links

The future of 4K video and the cheapest way to shoot it | Tony Reale
| NextWaveDV
A look at the actual -estimated - cost of some 4K options:
So what’s the most cost effective option for 4K? There is one last option that we haven’t talked about. The FS700 + Sony’s 4K option gives you 16bit 4K RAW. But remember back when we talked about the AJA Ki Pro Quad? 4K 10bit for $3995. Sony has hinted that the FS700 will support third party 4K recorders. Right now the Ki Pro Quad is one of the only 4K recorders on the market.

Mahout - Sony F55 CineAlta 4k Camera Demo | Stargate Studios | Vimeo
Sony asked Sam Nicholson, ASC, and Stargate Studios to produce a short film to test the F55. Nicholson, along with production teams from Stargate LA and Stargate Mumbai, travelled to Sri Lanka to produce the film, hiring local talent and crew to help in the production. "Mahout" follows an orphan girl who helps a baby elephant escape an abusive owner and return to his herd in the wild.

Watch 'Mahout,' One of the First Films Shot on the Global Shutter Sony F55
| Joe Marine | No FIlm School
As far as the look, it seems very similar to much of the other offerings from Sony. Watching in compressed form on Vimeo is certainly not ideal, especially since this was shown in 4K at the presentation yesterday, but one of the biggest things that is impressing me is the dynamic range. For a global shutter camera, it’s remarkable that Sony has pulled this much latitude out of the sensor.

GoPro Hero3 - 240fps in Slo-Mo | Jeff Foster | ProVideoCoalition
This is a brief shoot/edit workflow project demonstrating the GoPro Hero3 (Black Edition) running 240fps and editing at 30fps in Adobe Premiere Pro CS6 for the entire video.
While there are certainly limitations in image quality and resolution shooting standard dev in the WVGA 240fps mode on the GoPro, you can still achieve some pretty amazing and smooth slo-mo action shots.

Are the new iMacs good enough for video editing | Larry Jordan | Post
When you think about it, a 4K image is less than 16 megapixels, so the challenge isn't the image size; it's playing that many frames per second in realtime. This gets me to the heart of the issue: any Mac, even a Mac Mini, has the horsepower to edit video. The real constraints are the speed of your storage, the complexity of your video codec, and the depth of your effects. 

Creating snow in After Effects | Rich Young | ProVideoCoalition
Not that templates or stock footage are expensive… There are many, many tutorials for snow-related effects that can be used straight from the free projects or mimicked easily, even if you haven’t seen snow in years. First, to help with a forum question, here’s Michael Park on how to make snow stick 

I Want My 4K TV: Sony introduces first collection of 4K Ultra HD content
|  Ray Hartjen | Sony Blog
Last week I sort of shot off my mouth and suggested 4K content was going to be available in the home. Today, that 4K dream came true as Sony officially introduced the 4K Ultra HD Video Player. Bundled exclusively as a special value add loaned to purchasers of Sony’s XBR-84X900 4K LED television, the player is a hard disc solution that comes preloaded with the following full-length feature films

Switronix PB70 BMCC external battery review | Andrew Reid | EOSHD
Build quality is pretty good, though the casing of the unit is high grade plastic it feels robust and the threads are of course metal. Weight comes in a very good 0.63kg. The camera itself is 1.7kg. Dimensions are: 6.25 x 1.8 x 3.3″. Charging time is around 3 to 5 hours and the battery of course ships with its own charger. [...]
All in all, it is such a simple solution and I’ve had absolutely zero issues with it so far. Very reliable.

Habits of Highly Successful Screenwriters: Have a Driving Reason to Write
| Karl Iglesias | Script Mag
Gerald DiPego: For me, writing borders on an obsession. It’s almost like I don’t have a choice, like breathing. While you can certainly rack yourself with doubt, there is a persistence about it where it isn’t this sense of “should I do this or not?” but more “I can’t help this, I love it, I need to do it.”

You Want To Start A Film Production Company? Why Not Make It A Non-profit?
| Chris Mason Johnson | SF Film Society Blog
A non-profit isn’t right for all projects, obviously. Comedies without any socially relevant/meaningful content, for example, wouldn’t make sense. And yes, you do need to prove “educational value” to the IRS. The non-profit I’ve created, Serious Productions, Inc., will have a life beyond Test and has a broader mission statement that Test fits into: to capture aspects of LGBT lives and experience that might otherwise be lost in the bigger historical narratives that dominate.

Doha Panel: Making Films Shouldn't Be Creators' Key Goal in Age of Transmedia | Stuart Kemp | Hollywood Reporter
According to the panel, the digital age amid a growing opportunity to make material available across multi-platforms such as smart phones and tablets can negate the need for old school methods of content creation and distribution.
Tousi said there are three drivers of change in the digital world - demographic shifts, a reshaped global power structure and disruptive innovation.

Thursday, November 29, 2012

Quick Links

As expected, Sony announced the list prices for the PMW-F5 and PMW-F55, and as expected, I can't afford either. Actual street price might be a bit lower...
PMW-F5 CineAlta 4K Camera $19,400
PMW-F55 CineAlta 4K Camera $34,900
AXR-R5 RAW Recorder $6,300

Canon C100 Review – First impressions | Paul Joy | Blog
This little camera intrigues me because it's big brother the C300 produces a great image, but I can almost afford the C100.
It does have some limitations, as Paul lists in this first impressions article. If you're interested in the camera, B & H now has it in stock.
The side grip on the C100 is the same as the one on the C300, other than the addition of the orange dot on the record button. As with the C300 the C100 comes with a cover that can be attached when the grip is removed to allow operation of the camera in a hassleblad type position (hands clasping the body). This is all well and good until if you need to access the menu system to change ISO, shutter speed, aperture etc, there’s no way to do it.

4K is Coming, Ready or Not | Michael Murie | Filmmaker Magazine
Sony just came to town doing a road show on the F65. Interestingly, they spent no time on the operation of the camera itself; the session focused on the workflow for material from the camera. The message: Avid, Adobe, DaVinci Resolve – to name a few – all work with the camera. All you need to edit is a – comparatively – inexpensive RAID array and a good graphics card, and you’re good to go.

Sony asks “is 4K worth it?” Their own research says… | Andrew Reid | EOSHD
The paper then rather unsurprisingly goes onto claim that 4K is the best thing since sliced bread and that every cinema whether large or small should upgrade. A lot of this part of the paper has to do with complex mathematics in the relationship between differing levels of human vision, different screen sizes and viewing distances.

Camera Class: First Field Reports from the Blackmagic Cinema Camera
| Jay Ankeney | Creative Planet Network
Jacob Rosenberg, director and chief technical officer at Bandito Brothers, a full-service production company in Culver City, Calif., has had the EF model of the camera for just over two months and calls it “awesome.” “It is great that a hardware vendor who is in the video space and understands the needs of video professionals is putting their efforts into creating a device like this,” he begins.

GoPro HERO3: Black Edition Action Camera Review | Stephen Diaz | Videomaker
High resolutions and frame rates are impressive, but where the HERO3: Black Edition really shines is in the less discussed subtle improvements from previous models. After testing this camera side by side with the HD Hero2, it is apparent that three major features have been significantly improved: the in-camera audio, the low light capabilities, and the internal menu usability.

Adobe: Creative Cloud for Teams (Volume Licensing) Coming Soon
| ProDesignTools
We already know the pricing of Creative Cloud for Teams – it’s going to be US$69.99/month per user, based on an annual subscription. That’s $20 higher than the standard Creative Cloud member­ship, and Adobe says the reason it will cost more is because the product will be delivering more.

Sky Replacements in DaVinci Resolve | Josh Petok | Vimeo
In this tutorial, I'll show you how to do sky replacements in DaVinci Resolve. In the past, this was a cumbersome task that either sent you into a compositing application or took several nodes to accomplish. With only 4 nodes, I'll show you how to add a new element into the sky of your shots. You'll be able to add sun, moon or clouds to your skies.

How to Create Day for Night in After Effects | 5 Minute FX | YouTube
Want to learn how to create day for night effects using After Effects? In this episode of "5 Minute FX," wel'll show you how to shoot during the day but turn it into a night scene using the magic of scale and placing, rotoscoping, and color correction in After Effects. Will he get it all done in only 5 minutes? Watch and find out!

Immersed in Movies: Cinematographer Deakins Talks 'Skyfall' | Bill Desoqitz
| IndieWire
"The first camera they brought out had an electronic viewfinder and that for me is anathema. I just can't work that way and Arri was always intending to bring out a studio camera with an optical viewfinder, but because of the economic times they pulled back doing it. So we had the first two prototypes with the optical viewfinder. I basically think digital now has more advantages than film."

Good evening, tonight we have a case of on-set workflow: Hitchcock
| Mike Seymour | FX Guide
On set, dailies were viewed on iPads and then on PIX off-set. “I was able to pull up and view the 5K master files on the on-set OUTPOST cart itself. This new approach enabled makeup sfx, hair, wardrobe and the executive team to analyze footage and make adjustments on the fly.  We were able to catch any issues that arose up front, rather than finding them down line,” Lippard explained.

Wednesday, November 28, 2012

Quick Links

Sony F5 and F55 96-page Report | Jon Fauer | Film And Digital Times
A free 12 MB PDF of the Film and Digital Times Sony F5 and F55 96-page Report is now ready to download.
Major motion pictures shot with the F65 will be released this spring andsummer. I think everyone will be excited to see the results. But the overall price of the F65 may have been a little bit high for television production. We have always felt that prime time television is a Sony domain starting many years ago with the F900, and moving to the F23 and F35. Sony cameras were used to shoot quite a few shows. So, we wanted to get back our leadership position in that part of the market.

REVIEW - Panasonic AG-AC90 Camcorder | ADAM GARSTONE | Definition Magazine
For its very competitive price (around £1500 plus VAT) the AC90 is a really nicely packaged product. It’s lighter than it looks, but is made of good quality plastics and feels like it’ll stand up to the normal levels of abuse. It’s well balanced too, whether you are holding it at eye level or low level by the top handle. The audio controls are protected by translucent, smoked plastic covers and the LCD slides away into the front of the top handle, giving it a sort of lop-sided hammerhead shark look. Overall, it looks and feels a lot more expensive than it actually is.

Technicolor CineStyle Color Assist | Vincent Laforet | Blog
A $99 color correction tool:
CineStyle Color Assist Tool operates as a stand-alone application that also integrates with Final Cut Pro 7 or Adobe Premiere Pro 5.5/ 6, linking your color correction profiles back to your editing timeline.  The program has an incredibly friendly interface and comes with 25 pre-packaged "looks" that were designed by Technicolor’s colorists.  Of course, you can also design your own grades and presets.  

Reading Screenplays on the iPad mini | Stu Maschwitz | Prolost
Even without a retina display, the mini is a thoroughly pleasant device for reading. And dictating script notes via Siri feels enough like living in the future that I barely miss my flying car.

Ep. 23 - Hurlbut's Visuals (with Shane Hurlbut, ASC) | NeedCreative Podcast
Paul Antico and Jason Sidelinger decided not to take a break because they were joined via Skype by special guest Shane Hurlbut, ASC in Los Angeles to discuss his history and experiences in making major motion pictures. Shane is an accomplished cinematographer who has been the Director of Photography on such memorable motion pictures as “Crazy/Beautiful”, “Terminator: Salvation,” and “We Are Marshall".

Apple 'decimates' pro audio team, digital audio pros fear for Logic's future
| Karen Haslam | MacWorld UK
Okay, but this is the support anyone working on the software, that's the real question and this doesn't seem to answer that question:
There may be no future for Apple's pro audio application Logic if reports that the company has 'decimated' its Pro Audio applications team turn out to be true.Pro Tools Expert sources claim that in Europe Apple has just two pro application specialists and no plans to hire any one else.

3 Amazing New Affordable LED Lights Available To Ship | CheesyCam
The K-4000 and K400S 1X1 LED Video Lights are also available on the site. I’ve seen these lights at the last PhotoPlus NY show and was very impressed by the build quality and light output. You can purchase the lights individually, or check out the current specials for (3) 1×1 LED Lights in a kit starting at just $1050 ($350/each).

LACPUG publish the 'Lost Interview' with Hollywood film editor Dede Allen
Unfortunately Dede passed away in 2010, but this interview is a great record of her experiences and knowledge from editing some of the great Hollywood films of the late twentieth century. Classics such as The Hustler, Bonnie & Clyde, Dog Day Afternoon and others make up a pretty impressive list of credits on IMDB. She was also nominated for an Academy Award three times for Best Editing.

Darren Aronofsky & Danny Boyle Interview Each Other on Directing
| Alex Billington | First Showing
Way, way back in 2008, Fox Searchlight coordinated an awesome interview between two incredibly talented and brilliant filmmakers: Danny Boyle and Darren Aronofsky. It was recorded as a back-and-forth interview between the then-directors of Slumdog Millionaire (soon to win Best Picture) and The Wrestler. At first we posted one 4-minute segment years ago, but has since found all 7 pieces to form a full 30-min interview between these filmmakers, so watch if you've got the time. Enjoy!

The Seven Deadly Sins of Screenwriting | Marshall Heyman
| The Wall Street Journal
Taken from screenwriter Neil Landau's book "The Screenwriter's Roadmap: 21 Ways to Jumpstart Your Story"
2. A passive protagonist.
For Mr. Landau, Johnny Depp’s Barnabas Collins in the recent “Dark Shadows” reboot didn’t “have an emotional passionate goal” which meant the movie felt mechanical. Alternatively, both the lead characters in the French hit “The Intouchables” felt “drive by their active needs.” That’s the way to go.

Tuesday, November 27, 2012

Quick Links

First Sony F55 sample movie – 4K 60fps | Andrew Reid | EOSHD
Sony wasn't supposed to show these until the 28th, but once again they have leaked out early...
Here it is! Shot in 4K at 60fps for slow-mo, this is a test movie from the Sony F55. Designed to compete head-on with the Arri Alexa, the camera’s major selling points are a global shutter and future proof 4K.Although YouTube streams at 4K bear in mind that there is a LOT of compression added onto the image.

Canon EOS C500 – Review & short film “ALEX” | Nino Leitner | Nino Film
The C500 can’t record anything different from the C300 internally – it’s the same MXF files with the same bit rate (50MBit/s at 4:2:2), even the internal high speed recording isn’t any better (it’s 720p at 60fps in NTSC mode, and 30fps in 1080p mode). An external recorder was essential, and in the beginning we had our share of troubles sourcing one for our shoot.

Shooting with the Blackmagic Cinema Camera Part 2: Canon and Nikon lens tests, using external batteries | Rick Young | Vimeo
The images were the most film-like images I have worked with since I worked with film. I realise that’s a big statement, though let me qualify it by saying I’ve been shooting and working with video since 1989. My experiences with video gear go back to the 1980’s in days of 4:3, one inch C-format and Betacam before SP or DigiBeta even existed. I’ve used a lot cameras and a lot of formats and the video look has persisted.

Drive Through Snow Canyon with the Blackmagic Cinema Camera | Andrew Julian
| Vimeo
I'm in southern Utah for Thanksgiving with my brand new Blackmagic Cinema Camera. [...] I wish I had more time to shoot, but I'll take what I can get. I only changed lenses once from the Sigma 8-16 to the Canon 50mm 1.4. I didn't have any ND so I used a faster shutter speed than I'd normally use. The motion of some shots could definitely be smoother with a 180 degree shutter.

One of our readers Mike Ritchie has been in touch to say he has put production model footage online. As he says on the Vimeo page it is ‘nothing fancy, just playing around’, but you can download the full res version from the Vimeo page to get a better idea of how the camera performs. I have not personally shot with the camera yet and am keen to do so, the quality of image from this video already looks good enough for many news shooters working for online publications

SmallHD Unveils Sleek New AC7 OLED Monitors at Ground-Breakingly Low Price Point | Dave Kendricken | No Film School
As you can probably tell from the diagrams, the difference in the way such a panel produces light (unlike LCDs, there’s no backlight by default) means it can achieve far higher contrast ratios than an LCD, because it’s far more capable of producing true black. Because of this, SmallHD is claiming the ratio on their new AC7 series is virtually infinite — which sort of makes the whole idea of using a ratio to describe it obsolete.

First Round of EOS 7D Mark II Specs [CR1] | CanonRumors
First EOS 7D Mark II Specs Surface
From an unknown source, a vague spec list surfaces for a new APS-C Canon EOS 7D Mark II. The person says an announcement will be coming near the end of February.

Sony VG900 LAEA3 FF No Auto Focus LAEA2 Crop Auto Focus | Cinescopophilia
Received a message from Francesco Bollorino about an issue that his testing of the Sony NEX VG900 camera uncovered; that the supplied lens mount adapter the LA-EA3 works in full frame mode with no vignetting but does not have auto focus features. While the older LA-EA2 lens mount adapter allows for crop mode shooting without vignetting but does have auto focus features.

Product Thoughts: Atomos Digital Recorders | Larry Jordan | Blog
Atomos provides two digital media recorders: the Samurai (illustrated above) and the Ninja. The two units are similar in function. The Samurai accepts HD-SDI signals, while the Ninja accepts HDMI. While the Samurai has a slightly larger monitor, both systems are designed to let you watch your video either during recording, or later playback on set, so you can make decisions on image quality and composition directly during production.

| Barcode films
Don’t Edit What You Won’t Watch
This should be self explanatory but often times we fall into jobs that we do merely for the money and this is a slippery slope. Nothing will help you reach burn out factor faster than cutting material you loath.

Documentary Lab | Film Independent
Application deadline: December 3
Designed to help filmmakers who are currently in post-production on their feature-length documentary films, the Documentary Lab is an intensive seven-week program that runs in Los Angeles in March and April. The Lab’s focus is twofold: (1) provide creative feedback and story notes to the selected filmmakers; and (2) help filmmakers strategize the completion, distribution, and marketing of their film.

$500 off the Sony NEX-VG20 Body only | B & H PhotoVideo
You can get the NEX-VG20 for $1,098.00 through November 30th (or while supplies last.) The latest model, the NEX-VG30 can be pre-ordered for $1,798.00 (body only). One big difference between the two models; the VG30 has a rocker switch on the side handle that can control the 18-200mm Sony Power Zoom Lens (currently only available with the NEX-VG30 and NEX-EA50.)
Amazon is also offering the deal:

Monday, November 26, 2012

Sony "NewF" Webchat

On Tuesday, October 30th Sony held a webchat on "The New F"; the PMW-F5 and PMW-F55.
Below is an edited transcript; I have put the answers next to the questions and grouped them by subject.

Q: Has the retail price for the F-5 and F-55 body been established as yet?
Peter Crithary: The retail pricing for the camera systems have not been announced yet

Q What is the weight of the F55 with external recorder?
Peter Crithary: The dry weight of the F55 and F5 camera body is about 4.5lbs

Q: Have the included modules been worked out yet? Wondering about the audio module, the TC module?
Peter Crithary: The audio module and TC Genlock module are included

Q: Will the camera be sold as a package or “al la carte” (where the customer specifies which modules, & viewfinder they wish to buy)?
Fabien Pisano: It is of course possible to purchase module by module ; we are considering the bundle approach for later announcement
Sebastian: we are considering all the options for bundling right now

Q: Any estimate of delivery date for either version?
Peter Crithary: We will announce delivery dates soon

Q: Will the Hi / Lo key be available on both Models?
Sebastian: we are studying what is possible with hi / lo key

Differences between the F5 and F55 and F65

Q: Is the Global shutter only on the F55? from one of Peters earlier answers about the differences in the two cameras he only mentioned it on the F55
Ned Soltz: Global electronic shutter only F55
Peter Crithary: yes the F55 is the only camera that has the global shutter

Q: What are some of the main features of the cameras and can you compare the two?
Peter Crithary: F5 has a 4K imager that can shoot internally at HD and 2K, HFR, with the ability to output RAW. It has a wide color gamut. The F55 4K imager has a global shutter, HFR and the same color filter array as the F65 for an Ultra Wide Color gamut. It can shoot HD, 2K, 4K internally and output RAW. F55 has 4K HDMI and 3G-SDI outputs, F5 has outputs for HD. We also have combination recording capabilities that vary between both cameras.

Q: When can we expect to see footage?
Peter Crithary: Footage will be shown at the end of NOV at Sony launch events
Fabien Pisano: First Footage screening = displayed at the end of november in LA launch event and also in CAMERIMAGE show in Europe

Q: Besides 8K, how do the F55 and F65 compare?
Sebastian: The F65 can do 120 FPS with full 4K, we have netwrok interface, ipad interface, full ASC CDL interface, full RDD-18 metdata, we will add separate LUT for the HDSDI outputs and new OLED interface with V3 upgrade

Q: Is there any difference between dynamic range and color gamut between F65 and F55?
Sebastian: D range and colour space are really very similar, but F65 has twice as many pixels


Q: What is the resolution of the LCD VF
Fabien Pisano: LCD VF is 960 x 540 pixels

Q: What are the ND settings?
Ned Soltz: ND 0.9 and 1.8
Fabien Pisano: ND settings : Clear - 3 stops - 6 stops

Q: Do FS700 and F5 share the same sensor?
Sebastian: we are not currently disclosing any more information about the sensors

Q: Will features that are not available now be paid upgrades or free firmware updates?
Peter Crithary: There are no plans to charge for firmware updates


Q:When will the new Prime Lenses be available?
Peter Crithary: The prime lenses will be available at the same time as the cameras and other accessories ship

Q: When shooting hd will their be a crop factor with your lenses?
Fabien Pisano: No, not any crop factor.
Jon Fauer, ASC: No matter what format you're shooting, I think it fills the same area on the sensor, so not crop

Q: What material are the lens bodies made of? Hopefully not plastic?
Peter Crithary: The lenses are not plastic, complete ground up redesign and rethinking!

Q: Is an e-mount lens adaptor planned?
Sebastian: they are easily available from 3rd parties

Q: Are the new lenses standard PL?
Fabien Pisano: yes it is PL mount
Peter Crithary: Yes standard PL

Q: Am I correct in saying there is no Iris control on the camera? So no way of controlling Canon EF or Sony E-mount lenses attached via an adapter?
Sebastian: there is no iris control on the camera

Q: Can F5 / F55 control EOS (Canon) lenses? ie. focus and iris in auto or non-auto mode?
Ned Soltz: needs third party adapter for ef lenses
Peter Crithary: Birger engineering is working on the FZ to EF mount adaptor, as others are as well


Q: What is the reason behind implementing AVC codec? Scalability?
Ned Soltz: Reason for XAVC is this is far more efficient than mpeg2 and will allow those higher frame sizes and data rates. Simplistic answer i know and the engineers can handle better
Peter Crithary: Sony is implementing XAVC Advanced Video Coding for internal recording from HD up to 4K with HFR

Q: Can you record 2 separate codecs simultaneously on the SXS or SXS Pro Cards as well as 4K raw on the recorder while monitoring 4k output
Sebastian: yes we can record 4 XAVC and MPEG 2 on one card only on the F55, and also parallel recording on RAW and SxS

Q: Can we use current SXS cards in the 422 - 50mb codec?
Peter Crithary: yes current SxS cards can be used in addition to the new SxSpRO+ series
Fabien Pisano: we can use current SxS fo 50 mbps operation

Q: Can you control SDI outputs individually? For example, Data display ON/OFF, LUT ON/OFF, or is it global control to all outputs?
Sebastian: there are 2 clean outputs, and 2 that can have superimpose on them

Q: to shoot 4K in the F5 do I need the optional recorder?
Fabien Pisano: Yes you need the external AXS-R5
Lucie Wendremaire: you can record 4K on the F5 only with the R5 recorder

Q: Will the new XAVC CODEC be exclusive to the F55/F5 or are you planning to roll out a firmware to include the FS100/700?
Peter Crithary: there are no plans to do so

Q: Will your new XAVC format be available also for your consumer products as in the lower-end devices like DSLR's?
Fabien Pisano: XAVC usage in Sony range is considered at this time. We'll let you know later on.

Q: What Raw bit depth will the AXS-R5 record from the F55, F5 & FS-700?
Ned Soltz: Paul, 16 bit linear raw
Peter Crithary: we are recording 16 bit Linear RAW. For the FS700 this will be 4K RAW, for the F5, F55 this will be for both 2K, and 4K RAW

Q: Will it be possible to use the new AXS-R5 RAW recorder with PMW-F3?
Sebastian: you cannot use the R5 with the F3 as it has no interface

Q: When you dock the AXS R5 to record RAW do you need additional bnc's like external recorders, or is all the info for recording through the dock
Peter Crithary: the AXS-R5 will elegantly dock to the F5, F55 cameras by way of a multi-pin communication interface, so no cabling!

Q: Can the RX5 recorder be used with the F3 in 444 mode when the adaptor comes out or is it only capable of raw on the RX5
Sebastian: the R5 can only record RAW

Q: Will F5 / F55 require PRO cards or work on non-pro (orange) SXS cards?
Sebastian: you can use existing SxS cards with MPEG 2 recording, and XAVC 2K up to 30P. Above that you need the new SxS Pro+ (plus)

Q: Will Premiere CS6 support all the new codecs including RAW? And DaVinci Resolve? Wondering about workflow.
Ned Soltz: Premiere Pro will handle XAVC with Rovi plug in. I have the support list from Sony and do not see Resolve, which I personally use. Perhaps someone from Sony can comment. Will support Scratch, I know and FCP X as well as Avid. Of course Vegas
Peter Crithary: we are working closely with many third party vendors to support our codec technology. In addition to third party development Sony is also developing support via plugins and our SDK for the debayering for F5, F55 with a unified framework

Q: Are the HDSDI outputs on the F5 independent of each other? Can 1 be set to 1080p and others be either cross converting or down converting?
Sebastian: there is no downconverter in the new F series

Q: Does the XAVC codec compress intra or inter-frame?
Ned Soltz: Xavc is i frame
Sebastian: So XAVC in the F5 and 55 will be Intra Frame
Peter Crithary: XAVC is intra frame, I frame as implemented in the F5, F55 with data rates up to 600Mbps for 4K 60P recording internally to the SxSPRO+ cards in the F55, and HD, 2K for internal recording for the F5. (in addition to the F55)

Q: When can we expect more information on the possible support of 3rd party 4K recorders for the FS700? Will those recorders require the HXR-IFR5 module or just the firmware update?
Peter Crithary: we are embracing third parties for recording where applicable. Details will be announced at a later date

Q: What is the average lifespan (read/write cycles) of the media cartridges on the external 4K recorder?
Sebastian: the media lifespan is at least 5 years


Q: Is the reduced ISO of the F55 vs the F5 due to the color filters or due to the global shutter?
Fabien Pisano: F55 lower sensitivity is due to GLOBAL SHUTTER

Q: Is the sensitivity/signal to noise ratio F5 in LowLight capabilities to the Canon C300/C500 comparable??
Fabien Pisano: it will be up to you to figure out ;-)

Q: The Native ISO for F5 is 2000 correct? What is the highest useful ISO?
Sebastian: yes F5 is planned to be ISO 2000 subject to further development

Q: Is it true, that the camera has 14stops of dynamic range? Does this only apply when working with S-Log 2?
Sebastian: 14 stops is our planned target. Slog 2 can support 1300% D-Range and also the 16 bit linear RAW

Q: I take it Slog is included and not an option for F5 and F55 what is the differnce between SLOG 2 and the Slog of the F3
Sebastian: S-Log has a range of 800% while S-Log2 has 1300% which is needed for cameras over 14 stops D-range


Q: The LCD display looks like it has 4 channels of audio, where are the other two inputs?
Sebastian: there are 2 analogue inputs, but each XLR can be switched to AES EBU input, hence 2 inputs per XLR = 4 channels

Q: As the camera has 4 audio channels - will the optional module only have 2 xlr ins? or will there be a 4 xlr version as well?
Sebastian: the 4 channels are only for digital input, and 2 channels are for analogue input

Q: Can you use XQD media with an adapter - at what record rates
Fabien Pisano: Yes XQD can be used with Adapter
Fabien Pisano: MPEG2 HD422 50 mbps only

Q: Is there a limiter available on the analog audio inputs?
Sebastian: we are studying the analogue audio now


Q: Will the F3 still be available when the F5 is released? Or is the F5 replacing it.
Lucie Wendremaire: the F5 will not replace the F3.

Q: any trade in planned for F3 owners?
Peter Crithary: We are considering loyalty programs now, will get back to you. No specifics yet

Construction & Connectivity

Q: Will there be a dedicated side hand grip with a zoom rocker?
Sebastian: there will not be such a dedicated hand grip

Q: What material is the F5/55 body made from?
Sebastian: the body is not plastic

Q: What about weather dust and water resistance?
Peter Crithary: Weather, dust and water are being handled, details will be on

Q: If I use either camera in an underwater housing will I face any overheating issues?
Fabien Pisano: None of Sony Cameras are know for overheat in underwater housing. We took great care in the design of these one so should be allright.

Q: In the photos I've seen on the XLR input module, it looks like it is screwed on with two screws. However in the photos without the module there are no holes for the screws. Can you explain this please?
Peter Crithary: Some of the photos represent initial prototypes that are not representative of the final product. The studio pictures you see in this session are much closer to the final design

Q: On the optional baseplate, are the rods 15 or 19mm? Pad adjustable fore and aft?
Ned Soltz: rods are 15mm. Pad as I understand it has some fore/aft movement
Sebastian: Yes the pad has some movement. On top we will also have rosette for direct grip attachment.

Q: What is the connector the EVF uses? Can they be used with other cameras? Could you in theory still run a 3rd party EVF from one of the HD-SDI ports or the HDMI port?
Sebastian: the connector is a new digital intercface, but of course you can use 3rd parties via HDSDI

Q: Any plan for a paint box or wired remote?
Sebastian: you can use the current RMB-170 via the 8 pin connector

Q: Do you have any plans for a Thunderbolt SxS reader?
Fabien Pisano: the reader is USB3.0 at the moment but we dont exclude TB.

Q: Can the side instrument monitor also work as a video monitor?
Sebastian: The panel on the side is for control only

Q: Any capability to remote start stop the camera wired or wifi?
Sebastian: wired is OK via 8 pin interface, wireless is under discussion for future upgrade


Q: Great stuff, can you talk about ideal applications for this camera?
Ned Soltz: the strength of these cameras is they can do broadcast specs internally with xdcam hd and sr 220. Plus docs, indie and feature with xavc 2k/4k and raw with the recorder.
Ned Soltz: Clarification. I mention xdcam and sr because these are broadcast specs and workflows already in place. xAVC can scale from hd though 2k and 4k(f55) plus high frame rate

Q: If not using a recording module, does the battery clip straight to the back of the camera? Can regular V-Lock batteries be used, or just the specific Sony ones?
Ned Soltz: I presume you could use v lock to gold mount adapter just like on any other v mount camera or device
Fabien Pisano: yes the battery is V lock. and you can use of course teh regular existing batteries
Jon Fauer, ASC: Yes--batteries clip to back without RAW recorder, and yes, you can use other batteries
Jim Jannard: When can I pre-order one of these?
Fabien Pisano: Hi Jim, pre-order process will be announced soon.
Lucie Wendremaire: Hi Jim, best way is to get in touch with you preferred dealer.
Q: Thanks for building the prefect red alternative. Non-RAW Internal recording is what we needed. RAW should be optional. Great system.
Peter Crithary: We really did listen to the industry, with dedicated feedback sessions and overall response from existing owners of our large sensor cameras

Q: If moving up from EX1 which camera is the next in this lineup to progress to?
Fabien Pisano: EX1 is a 1/2'' camcorder. This line up is S35mm sensor so operation will be verry different operation mode. I would answer PMW-F5 anyway.

Q: I'm really impressed by the future v3 firmware of the F65. is 8Kx4K recording will really be possible ?
Sebastian: from the F65 RAW we will be able to get a minimum of 6K, even with RAW recorded today!

Peter Crithary: Our Digital Signal Processing technology, together with our imager sensor technology and codecs all promise to deliver truly stunning imagery Dont forget to visit our web site at and stay tuned for our launch event on NOV 28th in LA, and a later date in New York, details to be announced Don't forget about the unique and very powerful combination recording. Several different configurations. Keep an eye on our web sites for more information

Sebastian: Don't forget about the new battery which makes you run the F5 and 55 with R5 attached for more than 1hour. Camera only wil run more than 2hours with the new battery Don't forget that the new F5 and F55 will be the first cameras which can record HDCAM SR 444 (440Mbps) internal on the new SxS Pro+ cards.

Sunday, November 25, 2012

Upcoming Massachusetts Production Coalition Meetings


Wednesday, November 28th at WGBH
Cocktails & Networking: 6:00-7:30 pm.
Presentations: 7:30-9:00 pm.

RSVP + INFO: mpc-november-meeting-wgbh
Join your friends and colleagues to ring in the holidays with a great night of cocktails, presentations, and networking.

2012 MA Year In Review Highlights:
Celebrating a wonderful year in film, we are excited to share a special reel of Massachusetts film, television, and commercial highlights from 2012.

Speakers & Presentations:
• Lisa Strout – Massachusetts Film Office
• Diane Pearlman – Berkshire Film & Media Commission
• Aframe: Cloud Video Production


Saturday, December 1st at High Output
Coffee & Bagels at 9:30 AM.
Seminars from 10:00 AM – 12:00 Noon.

RSVP + INFO: distribution-seminar-december-1st

The Distribution seminar will focus on an in-depth discussion on putting film and media into the world – from Film Festivals and Ad Campaigns – to PR and social media in distributing content. Offering perspectives from a diverse group of accomplished panelists, we will explore the changing landscape of traditional and evolving distribution methods.

Speakers and Panelists:
• Alice Apley – Executive Director, Documentary Educational Resources
• Chico Colvard – Documentary Director / Producer, C-Line Films
• Lisa Hickey – Social Media/Creative Director, Good Men Media
• Judy Laster – Founder/Director, Woods Hole Film Festival
• Margie Sullivan – Executive Producer, Redtree Productions
• Susi Walsh – Executive Director, Center for Independent Documentary