» Posts Tagged ‘f55’
Let’s take a walk down memory lane. Remember two years ago, when Zacuto and Kessler put together what might be considered the most epic camera shootout ever conceived? I sure do, but not because of the results or any one camera being superior to the others, but because it drove home the point that we live in an era where any camera — from the iPhone 5 to the Sony F65 — can produce professional results as long as the person behind the lens knows what they’re doing. With that said, digital cinema technology has come a long way since the 2012 shootout. More »
For the past few years, the practice of hacking a camera’s firmware in order to increase the feature-set of said camera has been commonplace and quite popular, especially in the case of the original GH2 hack and, of course, Magic Lantern with Canon DSLRs. However, up to this point, we haven’t really seen or heard about folks hacking higher-end cameras in order to increase performance. Until now, that is. Paul Ream, a working cinematographer, recently figured out how to hack the Sony F5 so that it enables the camera to shoot 4K internally, a task which significantly closes the performance gap between the F5 and its much more expensive big brother, the F55. Furthermore, this hack raises some interesting questions about the ethics of companies limiting the functionality of their products in superficial ways. More »
Holding true to their philosophy to make the F5/F55 remain viable for a long time to come, Sony have introduced an upgrade that effectively turns your F5 into an F55. For the FS700, Sony are releasing a free FS700 firmware upgrade for E-mount zoom lens support. Also, for those of us with a few B4 lenses sitting around, Sony has announced a new 2-part optical B4 to PL adapter with an electronic lens interface. Hit the jump for our interview with Sony on the NAB floor: More »
We’ve been anxiously waiting for Sony’s press conference today from NAB, since word is they’ll officially announce their brand new 4K camera. Well — no more waiting. Introducing Sony’s A7s, which boasts ultra-high sensitivity up to ISO 409,600, high color fidelity, 4K HDMI video output, and 120fps/720p recording. Not only that, but Sony has also released the details about what firmware version 4.0 has to offer F5 and F55 users. More »
Ever since Sony officially announced their modular cinema cameras over a year and a half ago, the F5 and the F55 have been subject to a veritable plethora of firmware and hardware updates that have taken the functionality of these two already feature-packed cameras to a whole new level entirely. First it was replaceable optical low pass filters, then it was the ability to use s16 glass, and most recently was the announcement that the cameras would soon offer ProRes and DNxHD recording. And Sony is still at it, pumping out major firmware updates with oft-requested features from their users. Recently they announced v4.o of the firmware for these cameras, and few interesting new features are in the works. More »
Today, Sony announced that their higher end cinema cameras, the F5 and F55, are both going to be getting Apple ProRes and Avid DNxHD recording in a future hardware upgrade. This is a big move for the company, which has so far avoided either of the codecs in both their high-end and low-end cameras, even as competitors like ARRI adopted them for much easier workflows. Read on for more details. More »
In late 2013, Sony released version 3.0 of the firmware for their F5 and F55 cameras. This update added a veritable plethora of new features for these two cameras, including internal 4K and more options in regards to high frame rate shooting. However, one of the most interesting features of the update was the addition of what Sony calls “Center Scan Mode” which essentially crops the sensor in order to allow native use of lenses with a smaller image circle than s35, chiefly older s16 lenses. In another informative “At The Bench” video from AbelCine, Andy Shipsides breaks down everything you need to know about Center Scan Mode on the F55. Check it out. More »
[As some of you might have heard, there's some kind of sporting match happening today, a big one apparently.] All jesting aside, the Super Bowl isn’t just an epic clash between the NFL’s two best teams. It’s also the absolute pinnacle of sports broadcast media, as both the league and Fox (among others) shell out incredible amounts of money to ensure that the production is as technologically advanced as current broadcast standards will allow. This year is no exception. As the Broncos and Seahawks go head to head today (go Broncos), the Fox Sports production team will be utilizing over 100 Sony cameras, several of which will be 4K, to ensure that we, the viewers, have the best seat in the house. Here’s a brief look at how it will all go down this afternoon. More »
In the year or so since Sony announced the F5 and the F55, the company has released a veritable plethora of firmware updates and an optional hardware upgrade of the replaceable optical low-pass filter. Despite a somewhat premature release of the cameras with some of the key functionalities missing (especially in terms of higher resolutions and frame rates), the cameras are finally up to their original specs and then some. Sony isn’t stopping there, however. In the third version of the firmware for the cameras, which was released today, a few impressive new features were added to the cameras. Read on to hear all about these exciting new features. More »
All modern digital cameras have optical low-pass filters (OLPFs). These small optical elements sit between the lens and the sensor, and they serve to suppress high frequency detail that can cause aliasing and moire, as well as overly sharp images. We’ve talked about changing out OLPFs before with the 5D3. Unfortunately, on most cameras the process of removing or changing the OLPF requires physically taking the camera apart, which can damage sensitive electronics and void your warranty. With Sony’s F5 and F55, however, the OLPFs sit beneath the native FZ mount, and they can be changed simply and quickly for ultimate control of the image. Adam Wilt of DVInfo shot some tests with the new OLPF’s. Check out the details below: More »
Great aerial footage seems simple enough to capture in theory, but there is often a team of people or years of experience backing up the terrific shots. In the post below, we have Andrew Wonder to take us through his process of capturing aerial footage of a female rugby team on the Sony F55.
This is a guest post by Director/Cinematographer Andrew Wonder.
If you were at NAB, then you already know that 2013 was the year of the drone. You could barely walk around the convention floor without the risk of getting a haircut by someone’s spin on the aerial rig. Though they look like toys, it’s easy to forget that operating a drone is an art that should be carried out by professionals. Like a Steadicam, you can’t just pick one up and expect cinematic results. Understanding how to balance and control these crafts is the difference between that perfect shot and ending up in the river. More »
Sony’s tight cluster of NAB 2013 4K-centric announcements featured some of the most affordably priced UHD TVs yet seen all the way over to the external recorder-enabled 4K shooting capabilities of its FS700. The latter announcement also made it clear that Sony is looking to put a wide variety of encoding and format options into the hands of shooters — and beyond, potentially. Aside from external and third-party recording expansion, Sony is opening up its efficient 4K XAVC codec — native to the F5 family — to the consumer as well as the prosumer. Read on for some details regarding these new ‘lite’ encoding/wrapper options, dubbed XAVC S. More »