Sony FS5 Quick Start Manual Download

Page: 64 / 113

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.

Summary of Contents for FS5

Page 1: ...Sony FS5 Quick Start Guide V 2 2017 ...

Page 2: ...t test on the contents of this guide Complete the online test or email Phil Hawes to receive the written test after you have read this guide The test might take about 20 minutes to complete philip hawes concordia ca The borrowing period for the camera is 72 hours for undergraduate students and one week for MFA students ...

Page 3: ...This is a professional HD and 4K camera with broadcast quality codecs The 4K RAW upgrade is coming next year ...

Page 4: ...Sony FS5 Kit Camera and Lens Batteries and Chargers There are two BPU 60 and one BPU 30 battery Condenser Microphone ...

Page 5: ...d SD cards is worth about 9000 The camera is not waterproof It must be protected from rain and snow 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 ...

Page 6: ...Sony FS5 Quick Start Guide Basic Operation ...

Page 7: ...Power Button ...

Page 8: ...wfinder By default the viewfinder is off when the LCD is on The power switch for the LCD is on the top of the LCD If you do not see an image in the LCD when the camera turns on the battery might be dead or the LCD might be off ...

Page 9: ...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 ...

Page 10: ...SD Card Slots 2 X 128 GB class 10 SDXC cards 95 MB s XAVC HD 1080 50 Mbps 280 mins per card 4K QFHD 100 Mbps 150 mins per card ...

Page 11: ...Slot Select Button to determine which card to record to ...

Page 12: ...Making Menu Selections Menu button and SEL SET wheel ...

Page 13: ...tings 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 except for the Picture Profiles ...

Page 14: ...Sony FS5 Recording Formats ...

Page 15: ...D Frame Rates 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 Progressive PAL 25p 50p Interlaced PAL 50i 50 fields or 25 fps interlaced ...

Page 16: ...rame Rate NEVER shoot interlaced frame rates All display equipment is now progressive NEVER shoot PAL frame rates unless you are planning to show the video exclusively on European or Asian video display technology ...

Page 17: ...ype 1080 60p 1920 x 1080 59 94 fps progressive 1080 24p 1920 x 1080 23 976 fps progressive 1080 30p 1920 x 1080 29 97 fps progressive 1080 60i 1920 x 1080 29 9 fps 60 interlaced fields AVOID THIS 2160 30p 3840x2160 29 97 fps progressive 2160 24p 3840x2160 23 976 fps progressive ...

Page 18: ...2 MPEG 4 Long Profile 10 bit HD 1920x1080 60p 30p 24p at 50 mbps Slow motion HD in 1920x1080 up to 480p Slow motion HD in 1280x720 up to 960p XAVC QFHD 4K UHD 3840x2160 4 2 0 MPEG 4 Long Profile 8 Bit 4K UHD 30p 24p at 100 mbps AVCHD lower quality HD format DON T USE THIS ...

Page 19: ...te 2 a progressive frame rate 24p for slower motion or 30p for faster motion 60p 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 ...

Page 20: ...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 color information of XAVC HD making it much harder to color correct It is also more prone to image noise at higher ISOs ...

Page 21: ...no 4K displays or projectors in the CDA depot In your classes and in Concordia galleries all video is currently being displayed at an HD size 1920x 1080 4K is harder to edit Computers work harder to edit 4K XAVC video because it is highly compressed ...

Page 22: ...ion in mind a 4K DCP for film festivals for example or a 4K video split across two HD projectors Next year the CDA will purchase a 4K RAW upgrade for one camera then 4K image quality from the camera will improve and if you shoot in 4K Pro Res 422 editing will be easier ...

Page 23: ...Menu Choosing a Recording Format Rec Out Set Menu Rec Set Choose the 50Mbps option for XAVC HD ...

Page 24: ...Menu Choosing a Recording Format Choose the 100Mbps option for 4K UHD ...

Page 25: ...rding 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 ...

Page 26: ...Sony FS5 Audio Controls ...

Page 27: ...a 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 ...

Page 28: ...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 ...

Page 29: ...ut 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 ...

Page 30: ...rnal 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 ...

Page 31: ...Audio Controls Auto or Manual Flip down the little door to adjust the audio volume levels manually The AUTO level should be sufficient however ...

Page 32: ...Headphone Output Headphone level is controlled in the Audio Set menu ...

Page 33: ...Sony FS5 Auto Exposure Controls ...

Page 34: ...FULL AUTO Although the camera has many controls you can operate it in FULL AUTO mode with AUTO exposure AUTO white balance and AUTO focus ...

Page 35: ...o 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 ...

Page 36: ... 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 60th of a second is the correct shutter speed for 30p video ...

Page 37: ...ft 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 SLOG Picture Profiles more on that later ...

Page 38: ...here 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 AE SHIFT level indicator ...

Page 39: ...Sony FS5 Focus Controls ...

Page 40: ...Manual Focus Auto Manual Focus Toggle on Camera Side Focus Magnification button on Handle Control Focus with the smaller width ring ...

Page 41: ...r 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 ...

Page 42: ...Sony FS5 About the Lens ...

Page 43: ...Sony E PZ 18 105mm f 4 G OSS Lens This is the kit lens Other lenses will require a Sony E Mount adapter ...

Page 44: ...n a wide angle and then zoom into your subject In this case focus first completely zoomed into the subject and then zoom out to start the shot Remember that a smaller aperture opening larger aperture number will give you a greater depth of field A wide focal length will also give you a greater depth of field Use focus peaking to confirm what is in focus ...

Page 45: ...hot Stabilization This is for lenses that support Steady Shot like the Sony E Mount lens on the camera Keep Steady Shot on Normal Turn off Steady Shot when the camera is on a tripod CAMERA PAINT MENU STEADYSHOT ...

Page 46: ...Sony FS5 Slow Motion Recording ...

Page 47: ...that determines how the clip will be interpreted by editing software like 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 60 fps Super Slow Motion settings can go up to 960 fps ...

Page 48: ...on Here the S Q frame rate is 60 fps and the recording format is 1080 30p The camera will shoot at 60 frames per second But the file will appear in Premiere as 1080 30p and play back on a 1080 30p sequence at 50 percent speed ...

Page 49: ...uper Slow Motion Here the super slow motion frame rate is 120 fps and the REC FORMAT is 1080 30p This means that the file will appear in Premiere and play back on a 1080 30p sequence at 25 percent speed ...

Page 50: ...ck 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 ...

Page 51: ...member that the rule of thumb for shutter speed is double the frame rate At 60 fps you need a shutter speed of 1 125th of a second At 120 fps 1 250th of a second At 240 fps 1 500th of a second At 480 fps 1 1000th of a second These are not perfect ratios but don t worry The higher the shutter speed the greater amount of light you will need ...

Page 52: ...ng for super slow motion frame rates frame rates above 60p 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 ...

Page 53: ...me 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 30p and the FRAME RATE at 240 fps you will get about one minute of recording time ...

Page 54: ...Sony FS5 Manual Exposure Controls ...

Page 55: ...Manual Exposure Settings Manual exposure relies on the following things White Balance Iris Shutter Speed ISO And possibly ND filter settings ...

Page 56: ...ch 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...

Page 57: ...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 ...

Page 58: ...e 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 ...

Page 59: ...s 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 ...

Page 60: ...ise 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 ...

Page 61: ...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 ...

Page 62: ...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 ...

Page 63: ...ipes 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 ...

Page 64: ...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 ...

Page 65: ...ND filter ND Filters cut light make the image darker By default the ND filter knob should always be in the CLEAR position ...

Page 66: ...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 ...

Page 67: ...o 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 ND Switch to Variable ...

Page 68: ...ET 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 ...

Page 69: ...Sony FS5 Picture Profiles ...

Page 70: ...t reset the Picture Profiles Each Picture Profile can be adjusted manually therefore it is wise to reset each Picture Profile in the Picture Profile settings before using it This will set the Profile back to the factory settings discussed here If you are more familiar with the Profiles and gamma and gamut you may wish to adjust them to suit your tastes ...

Page 71: ...ine image contrast color 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 There are nine to choose from There is a button on the camera that takes you directly to the Picture Profile choices ...

Page 72: ...Selecting Picture Profiles in the Camera Paint Menu ...

Page 73: ...ce 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 ...

Page 74: ...ine 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 50 or 45 percent ...

Page 75: ...PP 01 ...

Page 76: ... The colors 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 ...

Page 77: ...PP 02 ...

Page 78: ...tandard 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 50 or 45 percent ...

Page 79: ...PP 03 ...

Page 80: ...ut the colors 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 50 or 45 percent ...

Page 81: ...PP 04 ...

Page 82: ... 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...

Page 83: ...PP 05 ...

Page 84: ...PP 06 ...

Page 85: ...igh 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 color saturation appe...

Page 86: ... 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 ...

Page 87: ...PP 07 SLOG 2 ...

Page 88: ...PP07 SLOG 2 Corrected ...

Page 89: ...PP 08 SLOG 3 ...

Page 90: ...PP08 SLOG 3 Corrected ...

Page 91: ...PP 09 SLOG 3 ...

Page 92: ...PP09 SLOG 3 Corrected ...

Page 93: ...Sony FS5 High Dynamic Range SLOG ...

Page 94: ...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 ...

Page 95: ...l 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 ...

Page 96: ...stent 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 ...

Page 97: ...ideo Third Edition Steve Wright Focal Press 2010 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 ...

Page 98: ...n 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 mids and highlights in the histogram where the sampling rate is more sufficient for a greater amount of light ...

Page 99: ...t 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 mids and highlights in post production when normalizing the shot making the contrast seem correct on a computer display ...

Page 100: ...ideos 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 The following recommendations are based on Mr Chapman s but adjusted with my own experience ...

Page 101: ...es 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 favors 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 ...

Page 102: ... SLOG the white balance must be set in the Picture Profile settings COLOR MODE Set the correct color 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 ...

Page 103: ...Common Color Temperature Settings LCD Monitor 6500K Daylight 5500 K Florescent Indoor 4300K Tungsten Indoor Light or a Street at Night 3200K Incandescent Indoor Light 2500K ...

Page 104: ...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 ...

Page 105: ...O 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 ...

Page 106: ...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 ...

Page 107: ...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 a reference for flesh tone highlights ...

Page 108: ... 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 Grey card at 60 to 65 IRE At 3 stops of overexposure you lose too much color information ...

Page 109: ...er 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 ...

Page 110: ...Sony FS5 Backing Up Your Media ...

Page 111: ...ntainer XAVC clips play back natively in Adobe Premiere you do not need to change the codec or container 4K clips are of course more difficult to play back at full resolution Back up the MXF files to your hard drive and then batch rename the clips see next slide Please erase the media from the SD cards using the camera menu when you are finished ...

Page 112: ...with the camera Duplicate file names will cause problems in Adobe Premiere if your video files go offline Always rename the MXF files using Adobe Bridge Tools Batch Rename You can also use Bridge to batch delete the XML files before batch renaming the MXF files Always batch rename the MXF files before you import into Premiere Batch Rename Box in Adobe Bridge ...

Page 113: ...Thank you for reading this guide ...

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