Kitplus - The TV-Bay Magazine

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ACQUISITION to be fantastic with S-log3 or S-Log2. In UHD the 8 bit recordings will be a bit more restrictive when it comes to heavy grading or post production work. S-Log2 is better than S-log3 when you only have 8 bit data as it uses all of the data available. But as a test I decided to record some S-Log3 with the FS5 and then grade it to see how it holds up. I was really very pleasantly surprised. Get the exposure right and it works well and can produce a beautiful image provided you don’t push the grade too far. When shooting in S-Log you can add a gamma assist LUT to the viewfinder to make exposure assessment easier. At the moment there is only one LUT which is the 709(800) LUT. This corrects the gamma in the viewfinder to a much more normal looking image to make getting your exposure right much simpler. I noticed that the cameras Histogram always measures the recorded signal. I think this LUT is going to be the key way of getting good log exposure with this camera, but it’s also very simple to use and that’s what you need for run and gun. Add the LUT and if it looks right, it is right, it really is that simple. The camera will feature an enhanced zebra function that will operate over the full brightness range of 9 to 109 IRE and when the histogram is used you can include a marker line at the zebra level, so if you want to use a grey card or white card to set your log exposure this will be possible (this feature wasn’t working on the review sample so I have not tested it yet). There is no CineEI mode in the FS5. The images from the PXW-FS5 really are very nice indeed. They contain lots of very fine detail and nice rich colors. The camera I had was a pre-production prototype, so there will be some tweaking of the image before launch, but I really hope that Sony don’t change it too much as it really looks great already. There is a little noise at 3200 ISO but the noise has a very fine grain and is not at all unpleasant. You can use a lower ISO if you want, even when shooting in S-log. Once the production cameras are available I will investigate the best ways to get the most out of the standard gammas and log gammas. 62 | KITPLUS - THE TV-BAY MAGAZINE: ISSUE 106 OCTOBER 2015 Left: Ungraded S-Log3 frame grab from a prototype PXW-FS5 Right: Graded S-log3 from the PXW-FS5 CENTER SCAN MODE FS5 has a center scan mode that uses just the center super 16mm sized part of the sensor. This mode is only available when shooting in HD, but the really nice thing is that you can assign the center scan mode to one of the assignable buttons and it switches instantly between full scan and center scan. This can be useful for extending your focal length electronically, in effect acting as a 2x extender. It means that if using the 18-105 lens for example you can get the equivalent of a 36 to 210 focal length by using the center scan mode. Another possibility is being able to use super 16mm lenses or even some 2/3” ENG B4 zoom lenses. Super 16 is slightly larger than 2/3” so not all 2/3” lenses will be suitable, but many will be fine and won’t need an optical adapter, just a mount adapter. THE LCD AND VIEWFINDER For monitoring you have two options. There is a nice 3.5” LCD panel (same panel as the FS7 perhaps) that can be attached to either the front or the rear of the hand grip. The LCD is plugged in to the side of the camera using the same connector as the FS7 viewfinder. The LCD can be rotated into a wide range of different positions for viewing from the rear, front or side of the camera. The attachment system and mount is well thought out and much better that the FS7’s viewfinder mounting system. The resolution is approx 1/4HD (960 x 540) which appears to be the norm for this size of LCD panel. On the back of the camera there is a small electronic viewfinder (EVF). This little EVF is actually rather good. It’s OLED so has great contrast and has a resolution very similar to the larger LCD panel. It is however quite small and you do need to get your eye nice and close to the EVF to get the best from it. I used it a lot for my shoot in Amsterdam.