Sony PXW-FS5 Manual

Introduction

Mounting and Care of Lenses

NEVER MOUNT OR REMOVE A LENS WHEN THE CAMERA IS ON.
There are two lenses in the case with caps. Please use those caps at all times. Lenses are mounted by aligning the white dot on the mount to the white line on the rear of the lens. Insert the lens by lining up those marks and then turn clockwise. To disengage the lens from the camera, press the lens release and turn counter-clock wise.

Mounting The LCD Screen

Camera Case Contents

Always turn the camera power off, when not in use.
1 Lens shade
1 Sony PXW- FS5 Manual
1 25mm lens w/caps
1 50mm lens w/caps
1 Wireless remote commander
1 AC Adaptor/ Charger
1 Power cord
1 USB cable
2 Rechargeable batteries

Care of Lenses

Follow these steps to clean the lenses.

1. Uncap the lens. If there is dust, debris or particles use a rubber bulb hand dust blower to remove them.
2. If there are smudges or fingerprints, use lens tissue slightly moistened with lens cleaning fluid. Bunch up the tissue into a loose ball. Clean the lens glass with the slightly moistened lens tissue ball by applying light pressure in a circular motion. Never do this if debris or small particles are on the lens. It will scratch and damage the glass. Never pour the lens cleaning fluid directly on the lens glass.
3. Check the cleanliness of the lens when mounting it to the camera.
4. Only clean a lens when it's necessary.

Each student must provide a rubber hand bulb dust blower - http://www.filmtools.com/bigblower.html

Powering the Camera

The battery is placed at the back of the camera. The check lights on the battery indicate the level of charge. Always charge the battery before preparing to shoot.

Battery Charging

The AC Adaptor/ Charger charges the batteries and powers the camera from an AC power outlet. The toggle switch can be set to the CHARGE or DC OUT position. It cannot charge a battery while providing power to the camera.

1. Push the battery in and slide it down into position.
   

Inserting a Memory Card

Students will purchase two memory cards. One that is a 64gb sdxc class 10 memory card will record footage. The other card, 8gb, 4gb, 2gb or smaller will contain the camera settings. Many brands have been tested and will work Sandisk, Kingston, Transcend, Lexar. Please purchase these cards before the cameras are checked out.

The card slots are at the back of the camera next to the battery. Open the cover and insert the memory card with the notched edge facing down. To eject the memory card, lightly push it in once. Removing a card when the camera is recording or in standby mode, may corrupt the image data base file. All memory cards used in the camera must be formatted in the camera (not in a computer). Formatting will erase all the recorded data (footage) on your card.

Using the Menus

The FS5 has a long list of menu settings and choices. Settings that are critical to the USC SCA workflow have been identified and constitute a customized Camera Profile and Picture Profiles. The Menu structure is a familiar one for many. The left hand side is a Category indicator, the right side is where various subsets can be accessed. The USC Camera Profile assigns important menu settings, but students may need to make changes to various operational aspects. This document will address the areas of major concern but does not delve into areas that are at a more advanced level. Camera Profiles - This is a file that can be saved or loaded. This file will generate the setup for the camera, including assignable buttons and various control parameters. The USC Camera Profile will also install the USC customized Picture Profiles which will be stored in the meta data of the camera. Picture Profiles - This is a separate area of the camera menu structure that assigns different 'Looks' to be captured by the camera. These looks are built with varying gamma curves and color spaces. Each camera will have the USC Camera Profile installed prior to checkout from the CEC. Do not initialize the camera. Initializing will reset all settings back to their default values. Students must format their SD cards in the camera they receive at check-out.

Formatting the Memory Cards

Place the 8gb, 4gb, 2gb or smaller memory card (the one that will store the USC Camera Profile) in slot A. Place the 64gb card (the one that will record footage) in slot B. In the menu, go to the SYSTEM category. Scroll to MEMORY CARD A and format. Then go to MEMORY CARD B and format.

To store the USC Camera Profile on MEMORY CARD A, in the SYSTEM category, scroll to CAMERA PROFILE. Select SAVE. The USC Camera Profile will show up as a number to the left, with a code to the right. This will save the USC Camera Profile to the memory card. The card should be kept in a safe place. To restore the settings to the USC Camera Profile, place the card in a slot and in the SYSTEM category, scroll to CAMERA PROFILE, select the appropriate card slot and select LOAD.

Instructors will demonstrate the saving process (to the smaller sd card) and then the loading process to the camera.

USC Camera Profile

The USC Camera Profile assigns the correct FILE and REC (recording) formats. All projects must be captured in XAVC HD 1080/ 24p 50Mbps. The recording formats are found in the REC SET menu.

1. XAVC HD 1080/24p 50Mbps upper left on screen. All projects must be captured in these file and recording formats. The USC Camera Profile selects these formats automatically.
2. Clear Image Zoom, bottom left on screen, (when in use)
3. Gamma Display Assist, bottom left on screen, (used with S-Log3 only)
4. Picture Profiles, bottom of screen, (selectable in the Menu)
5. Variable ND, bottom of screen, (selectable)
6. Gain, bottom of screen, (selectable in the Menu)
7. Shutter, bottom of screen, (variable)
8. Color Temperature, bottom of screen, relative to picture profile setting
9. Histogram, middle right of screen
10. Zebras

Playback

To review footage press the thumbnail button. Press again to exit playback.

Assignable Buttons

ASSIGN buttons 1 through 3 are on the operator's left side of the camera and have been reassigned functions, S&Q - is now Zebra, PROFILE is now Peaking, STATUS is now Histogram.


ASSIGN buttons 4 through 6 are on the hand- grip on the operator's right side of the camera. ASSIGN button 4, FOCUS MAG magnifies a selected area of the LCD screen to assist in adjusting focus. ASSIGN button 5, DIRECT allows a limited number of menu setting, such as shutter, gain, color temperature* to be changed through the LCD screen. Press the DIRECT button and then toggle through the functions on the LCD screen with the MENU TOGGLE switch. The grip zoom lever (with W and T markings) controls the CLEAR IMAGE ZOOM function. The red record (start/stop) button is also on the hand-grip. *Note color temperature is locked in S-Log3 and can only be changed in the Picture Profile menu.

At the tip of the hand-grip, below ASSIGN button 4, there is a rotary dial. This controls the Variable ND (Neutral Density) filter but the Chrome ND filter dial on the operator's left side of the camera must be in position 1, 2, or 3 not clear, in order for the Variable ND feature to function. Plus the switch on the same side of the camera that is labeled ND/ IRIS must be in the ND position.

In the USC Camera Profile setting ASSIGN button 6, found on the underside of the hang-grip near the camera body, controls the GAMMA DISPLAY ASSIST function. This function converts the low contrast S- Log3 image to a normal contrast image on the LCD screen. It's only to be used when capturing in S-Log3 (PP 4, 5 & 6). The red arrow labeled Release points to the button that disconnects the hand-grip from the camera body. However, it is recommended that you not remove the hand-grip because the mini-connector is quite fragile.

Clear Image Zoom

This is a proprietary function from Sony that allows zooming in on any lens (prime or zoom) with relatively little image degradation. This function is accessed through the hand- grip zoom lever. The Angle of View (AOV) will be altered but not the Depth of Field (DOF). In HD the 25mm prime can zoom from 25mm to 50mm and the 50mm prime can zoom from 50mm to 100mm. The 18-105mm Sony zoom lens can zoom into a 210mm lens. On the LCD screen, the Clear Image Zoom function is displayed under the battery life icon and reads as cQx1.6.

Center Scan

This is a function that will scan the imager and use only a super16 portion. It will be less than HD resolution (about 1.6k). With this function the focal length is doubled, so the 25mm is seen as 50mm (AOV) and then with the Clear Image Zoom function applied it is seen as a 100mm (AOV) lens. The 50mm is seen as a 100mm (AOV) and then with the Clear Zoom Image function applied it is a 200mm (AOV) lens. Keep in mind that with the Center Scan function there is image degradation, and when the Clear Image Zoom function is also applied, the image degrades further.

Lens Data

ND Filter

The camera offers two ND Filter Modes, Preset ND and Variable ND. Sony uses a fractional nomenclature for the ND filters. Cinematographers use professional Cine language and refer to ND filters as 0.3, 0.6, 0.9, 1.2, 1.5, 1.8, 2.1. Each 0.3 ND cuts out 1 F/stop of light. So ND 0.3 cuts out 1 F/stop, 0.6 cuts out 2 F/stops, 0.9 cuts out 3 F/stops, 1.2 cuts out 4 F/stops, 1.5 cuts out 5 F/stops, 1.8 cuts out 6 F/stops, and 2.1 cuts out 7 F/stops.

Preset ND
On the operator's left side of the camera there is Chrome ND Filter Dial that places a Preset ND Filter in front of the imager. In the clear position, there is a clear filter which does not have any neutral density properties. In the remaining 3 positions the USC Camera Profile has assigned the following ND Filters: Position 1 is 1/4, Position 2 is 1/8, Position 3 is 1/16. These can be changed in the menu in the CAMERA/PAINT category, and ND FILTER, PRESET subsets.

Variable ND
This proprietary technology from Sony allows for the smooth transition of neutral density filtration. Instead of controlling exposure through the aperture (F/stop settings), or the Preset ND's it's controlled through fluid changes in the Variable ND (Neutral Density) settings. Therefore the Depth of Field does not change because the aperture remains constant. In order to use the Variable ND function, select position 1, 2 or 3 on the Chrome ND filter dial on the operator's left side of the camera. In addition, place the PRESET/VARIABLE switch in the VARIABLE position and the ND/ IRIS switch in the ND position. Then turn the ND/IRIS dial up or down to alter the ND value.
Iris control is operable through the camera when using compatible Sony E-Mount lenses. The Veydra primes we are using have manual iris control on the lens, and so do not utilize this function through the camera.

Variable ND

This table illustrates the relationship between fractional nomenclature and Cine language, as it relates to the effect on ISO.

Diopter Set

The diopter needs to be set for each operator's eye. First defocus the camera lens, then look in the OLED viewfinder and turn the diopter control until the graphics on the screen are sharp. Remember don't focus on the image through the lens, focus only on the graphics. Once set, manual focus can be achieved. The OLED viewfinder becomes active when the eye approaches the cup. This will turn off the LCD screen. The eyepiece and LCD screen cannot be active at the same time. This is to preserve the limited life of the OLED electronic viewfinder.

Prime Lens Controls

Since the camera does not communicate with the prime lenses, neither the auto focus or auto iris functions are active. Therefore, focus and aperture must be controlled manually. (Auto focus and auto iris are functional with compatible the Sony E-Mount zoom lenses, e.g. the Sony zoom ) Distance measurements are taken from the focus pin (which is located precisely at the image plane) to the subject and set by aligning the distance to the yellow witness mark on the focus ring. Aperture is set by aligning the F/stop to the yellow witness mark on the aperture ring.

USC Picture Profiles

Students in CTPR 310 and 508 may choose to shoot projects in any of the following 6 Picture Profile settings or with no Picture Profile setting (OFF). They are customized settings and part of the USC Camera Profile. The following chart includes important information relating to each of the USC Picture Profiles

Here are a few important facts that should be discussed with the cinematography instructor.

1. In any Picture Profile and even if capturing with the Picture Profile OFF, try to keep highlights below the clip point.
2. If shooting S-Log3 (Picture Profile 4, 5 or 6) overexposing by ½ to 2 stops produces images with minimal noise after color grading.
3. It is not recommend to shoot in S-Log3 for composite work.

Each Picture Profile can capture a different number of F/Stops or what is called dynamic range. With the Picture Profile OFF or in PP1- Standard approximately 6 F/stops can be captured. PP2 - ITU 709 (800%) also captures about 6 F/stops but protects the highlights. PP3-Cine1 captures about 10 F/stops while PP4, 5 & 6- S-Log3 capture almost 14 F/stops. The greater the number of F/stops that each Picture Profile can capture the more post-production color grading will be required to achieve the intended finished look. Below is the Picture Profile menu page. Because there is not a feature in which the profile names can be changed, the USC Picture Profiles are listed here.

Advanced Functions

Gamma Assist, Black Balance and S&Q Motion (Slow & Quick Motion) are covered in this section.

Gamma Assist
The purpose of the Gamma Assist function is to give a reasonable indication of how S-Log3 footage will look on a monitor after post-production grading. So it is only to be used when shooting in S-Log3, that is PP4, 5 or 6 in the USC Picture Profile settings.
It does this by applying a LUT (Look Up Table) to the OLED viewfinder and LCD screen signal feeds only. On the Sony FS5, this viewing LUT cannot be applied to an external monitor or line output. This function helps viewing with regard to the luminance (contrast and brightness), but not the color.
A LUT is a setting that processes the signal in order to enable one to view, during shooting, the image as it might look after post-production grading. However, it does not apply that processing to the recorded data. This allows maximum flexibility when color grading, because the least manipulated version of the recorded image has not had color, gamma nor signal parameters "baked" into it.

Important Note: ISO/GAIN - WHT BAL – SHUTTER Pressing these buttons places the camera in auto mode for the respective functions. There is no indicator light showing it's active. So be careful not to accidentally bump them. Press again to return to the manual mode.

Black Balance
Only execute black balance if there has been a malfunction or it has been inappropriately adjusted. It should be done with the lens capped and ONLY when necessary.

S & Q Motion (slow & quick)
In HD the camera can record frame rates from 1 fps to 240 fps. This allows for time-lapse or slow-motion effects. In Super Slow Motion the camera can record up to 960 fps but there is loss of resolution in this mode. To access these functions in the menu, go to the CAMERA/ PAINT category. Scroll to SLOW & QUICK. Then scroll to S & Q MOTION or SUPER SLOW MOTION.

Exposure tools

There are a number of tools and features that can help determine exposure.

1. The high quality OLED viewfinder can be used to help judge exposure. The LCD screen should not be used to judge exposure.
2. The Histogram - The histogram displays the range of tonal values in an image from black (left) to white (right) and 18% grey (middle). It can be used to judge overall placement of exposure, prevent overexposure (clipping) of the highlights and underexposure (crushing) of the blacks.
3. Zebras - The zebra function aids in determining exposure by showing a striped pattern on portions of the frame that are close to overexposure. On the FS5 zebra pointers can be overlaid onto the histogram as yellow lines. By pressing ASSIGN 1 button (USC Camera Profile assigned this the zebra function) zebra stripes appear on the image and in the histogram. Two zebra levels are assigned - onset white level and highlight clipping. On the histogram the yellow line is in two different places, one for onset white, and one for clipping.
4. Light meters are the professional tool used to measure light and determine exposure. The industry standard is the Spectra Professional IV http://www.spectracine.com/product_2.html. There are other meters the cinematography instructor can recommend. The least expensive is a device placed over a smart phone https://www.esdevices.com/collections/luxi "

S-Log3 Exposure Guidelines

In order to capture 14 F/stops of dynamic range in the S-Log3 setting, the resulting image is desaturated and very low contrast. There are two guidelines that optimize the quality of the image that can be achieved in post-production color grading.
First, when capturing in S-Log3 overexpose ½ to 2 stops The three tools that can help with exposure are a light meter, the histogram and the zebras.
Second, when overexposing protect the highlights. Don't let them surpass 94% brightness. Assign zebra levels to indicate when the highlights are approaching 94%. Notice the striped zebra patterns on the image and the display in the histogram. Remember the two yellow pointers in the histogram indicate the assigned brightness levels. When these exposure guidelines are followed the image will look quite overexposed and low contrast or what is often described as flat. The GAMMA ASSIST function applies a LUT that displays the image similar to what will be achieved after color grading. This approach is compared to capturing on negative film stock but in this case substituting the imager for film. Thus the term "digital negative" is now a way of thinking about capturing a wide dynamic range with the intention of bringing down exposure in color grading which also brings down (minimizes) the noise.

S-Log3 Images Pre & Post Grading

Below are two images shot in S-Log3. The first is before color grading. The attached RGB histogram displays the exposure of red, green and blue light. This type of histogram is found in editing and color grading software, not the camera. Notice the majority of light falls to the right of the graph, past 50% or middle grey. That is because the image is overexposed. Also notice none of the highlights (whites) surpass 94%. So there is no clipping of highlights. The second is after color grading.

Camera Care Guidelines

1. Never leave the camera in a vehicle unattended.
2. Do not expose the camera to wet conditions. Take steps to protect the camera in rain, with a cover.
3. Charge the batteries before a shoot.
4. Clean the lenses when needed. Follow the cleaning protocols described in the Care of Lenses section.
5. Never use compressed air on the imager. Only use the rubber bulb hand dust blower.
6. Cap the camera body lens mount quickly when the lens is removed, This will avoid dust and prevent damage to the front filter covering the imager.
7. When the camera gets dusty or dirty, wipe it down with a soft cotton cloth.
8. When shooting in a dusty location, mount and remove lenses in a clean environment, i.e. a car or any dust free space.
9. Keep the camera built with the LCD screen, handle and hand-grip attached. Fold back the LCD screen when packing.

SONY Zoom Lens

This is an 18 to 105 mm focal length, F/4 zoom lens. Because the camera does communicate with this lens, auto focus and auto iris functions are active. These controls are on the operator's left side of the camera. Focus can be controlled manually or with the auto focus function. Exposure can be controlled manually or with the auto iris and/or variable ND mode.

In the ND position, the dial controls ND settings. In the IRIS position, the dial controls the iris (aperture). When the Clear Image Zoom function is activated, the focal length of the lens can be doubled in HD with minimal lose of image quality. The lens can zoom to 210 mm focal length. The Angle of View (AOV) will be altered but not the Depth of Field (DOF). This function is accessed through the hand-grip zoom lever. The focal length can also be doubled with the Center Scan function but there is image degradation, and when the Clear Image Zoom function is also applied, there is significant image degradation.

Documents / Resources

References

• Spectra Cine, Inc -Spectra Professional IV-A (The Most Accurate Meter Ever Built)

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