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ACQUISITION Ungraded frame grab from the pre-production PXW-FS5. Note how little noise there is. and will ignore the background etc. Turn off the face tracking and you have a smooth and accurate autofocus system. Add in image stabilisation as well and for run and gun this really starts to make a compelling package that could be handed off to an assistant or less experienced operator for some B roll. 100Mb/s or 24, 25, 30, 50 or 60fps in HD at 50 or 35 Mb/s XAVC-L or AVCHD (1920x1080 @ 17/24/28 Mb/s, plus 1280x720 @ 9/17/24Mb/s) or an AVCHD proxy for ftp or streaming at (it’s a multi-region camera). LIMITATIONS COMPARED TO THE FS7 You can however shoot at up to 960fps by using the S&Q motion mode. This mode operates in almost exactly the same way as the FS700. It’s HD only. Up to 60fps the camera can record continuously, there is no sound however. Above 60 fps the camera uses an internal memory buffer to cache the super slow motion content. This means that at 240 fps, which is the fastest full HD speed, the camera can record up to 8 seconds of action. You have a choice of a start trigger which starts the 8 second record period when you press the rec button or an end trigger. If you use the end trigger you can wait for the action to happen, then press the rec button and the 8 seconds prior to pressing rec is then transferred to the SD cards. At 240fps 8 seconds of action becomes an 80 second clip. At 480 fps the sensor is read at half HD vertical resolution, at 960 fps the resolution is about 1/4 HD and it gets pretty grainy looking. What about the limitations? Compared to the FS7 there are a few limitations. The codec options are all long GOP. You can choose between AVCHD or XAVC-L. There is no option for XAVC-I and in part that’s because this camera records to SD cards (SDXC for XAVC-L). There are two card slots so you can have either relay (one card after the other) or simultaneous recording to provide an instant backup. It’s nice to be able to use such cheap media, provided you remember that this is low cost consumer media, not really designed for professional applications. SD cards are normally very reliable provided you buy good quality cards from a reputable source. Each card slot can be independently controlled by the hand grip rec button, the top handle rec button or body rec button if you wish. Back to the codec.... XAVC-L is a great codec. In HD it’s 10 bit 422 at up to 50Mb/s so offers full broadcast quality recording. In UHD (4K, 3840x2160) it is only 8 bit 4:2:0 at 100Mb/s so a little more restricted. But don’t panic! The 8 bit UHD recordings look beautiful. They are packed with detail and have rich well balanced color. I think it’s also worth remembering that like most 4K cameras this uses a bayer sensor, so you never have a true 444 or even 422 signal off the sensor to record anyway. One small but important point to consider is that a Long GOP codec needs a more powerful computer to decode than an I Frame codec. So to edit the 4K (UHD only, no DCI 4K in the FS5) from this camera you will need an up to date and reasonably high spec computer. My retina MacBook Pro will play back and edit a single stream without issue, but start trying to use multiple layers or grading and adding fi lters and it will start to drop frames. One further limitation of the FS5 is that the highest base frame rate in 4K is 30fps. So you can shoot at 24, 25 or 30fps in 4K at 60 | KITPLUS - THE TV-BAY MAGAZINE: ISSUE 106 OCTOBER 2015 SUPER SLOW MOTION PICTURE PROFILES, S-LOG AND GAMUT The PXW-FS5 includes picture profi les that have a number of preset “looks” straight from the factory. But you can go in to each of these picture profi les and change the gamma, colorspace, matrix and many other image quality settings. The FS5 has Cinegammas and S-Log2, S-Log3 as well as S-Gamut, S-Gamut3 and S-Gamut3.cine (some of these options may not be in the camera at launch, maybe only S-Log3/S-Gamut3. cine, the others added later). The Cinegammas are great for projects that won’t be graded or only have minimal grading. S-Log2/3 are fantastic for fi lm projects or other higher end work that will be graded as it allows the full dynamic range (14 stops) of the camera to be captured. In HD the 10 bit recordings are going