My Z90 arrived yesterday, and I was instantly happy with it.

Notable improvements to me:

1: AF works amazingly well, and doesn't suffer the "once focus is lost focus stays lost" of the older cameras. The X70 seems to be default programmed to go to full 0.3m MACRO when focus is lost, or dim, and stays there.

2: Manual focus has been made much better. It takes 2x as many turns of the ring to go from infinity to macro in wide angle. It now takes one twist, or 3x LESS turns of the ring, to go infinity to macro in full telephoto. That is a BIG DEAL for ENG shooting.

3: Gone is the X70 "green shadow shift" issue that both my old cameras suffered. That issue was also resolved in the Z150.

4: 5GHz WiFi networking has been added, as well as the capability to stream 1280x720 25/30p 3Mbps when in a 50/60p record codec, the X70 was limited to 640x360 25/30p 1.5Mbps when in 50/60p. AVCHD live streaming now available as well, but not at all in 50/60p.

5: PP's are retained when FULL AUTO switch is engaged. You still are forced into ATW, but at least your detail, knee, black gamma, and color corrections are not turned off like on the X70. Switching to AUTO on the X70 was always problematic for that reason, as my entire color correction system would be turned off, and the picture would gain a greenish cast.

Notable disappointments to me:

1: Wide angle infinity has still not been corrected. On the X70 at wide angle, you must turn the focus ring back from infinity (mountain icon) to 19f (5m?) for anything distant to really be in focus. On the Z90, infinity is still slightly out of focus, and you must turn the ring back to 66f (20m?) for critical focus. This is just slightly less of an annoyance than the X70, because the Z90 takes twice as much rotation of the ring to achieve this correction. On the X70, it was so sensitive at wide angle, it was difficult to turn back to 19f without overshooting and being too blurry the opposite side.

2: The old X70 LOW LUX feature, where putting gain and shutter into (A) would cause shutter to drop to 1/30-1/50 when maximum gain was achieved, is now gone. there is a LOW LUX menu option, but it doesn't seem to do anything. Auto shutter is now limited to no lower than 1/50/160 depending on NTSC/PAL.

3: Also gone is the X70's ability to AGC up to 33db. The Z90, when AGC limit is set to OFF, will only gain up to 27db, and no more. This flaw was also in the X70, but only in 4K record mode. This 27db AGC limit, as well as 1/50-1/60 auto shutter limit, make the camera less capable in low light than the X70. The Z90 is not a low light camera, especially when limited to 27db 1/60.

4: DIRECT MENU...this feature exists in the large shoulder Sony cameras, and in those cameras, it is extremely useful. Well, they gave it to the Z90, but it doesn't serve any usable function. In say the PMW320, you press the direct button, and can scroll on the LCD/EVF highlighting gain, iris, WB etc, and turn the menu dial to adjust them. For WB kelvin, you could use the direct function to select WB then scroll the color temp up or down. Anyway, on the Z90, you can scroll over to AF/iris/gain/shutter/and WB, but the only thing you can do is whatever the physical camera button for each can do. This is completely useless, as this requires pushing the oddly located direct menu assign button, then using the joystick to highlight the option, then toggling and pushing and menu scrolling to change it. Useless because a SINGLE PRESS of the dedicated camera buttons for each does the same in 10 less steps. Perhaps this can be useful if the left side of the camera is physically inaccessible for some reason, or maybe there is logic to it using the remote app on a phone...don't know, but it annoys me that it is not the same as the feature in the other bigger cameras. *rant off*

As for hardware, physically, the camera body is the same save for slight ergonomic modifications, larger raised rim around REC button and such, and the MIS shoe is now silver instead of black. The lens hood, lens cap, eyecup, entire XLR handle assembly, all are X70 parts. I actually just transferred all my X70 pieces onto the Z90, handle etc. Zoom speed is identical, LCD screen looks identical. NPFV70A battery is slightly larger, but feels lighter. Same watts, but higher voltage lower mAh's...older batteries and aftermarket are working on the Z90 just FYI.

So now I have an X70 that I can manually focus, that doesn't need +1 MG in WB to look proper, doesn't hard shadow shift green in the dark, can operate on clear 5GHz WiFi at 720p instead of 2.4Ghz at 360p, and is 6db cleaner...basically, I am happy. Anyone want to buy a couple of months old 4K X70 with all new parts and accessories? :-)

Paul

Thanks Paul. I like hearing the negatives before I buy. At least that direct menu feature sounds like something they can fix in a firmware update.

I am a very picky and critical person when it comes to cameras...it tends to bother me when I purchase something and it has things I don't like that no one had mentioned anywhere online. Best to go into a new camera with all the facts. :-)

Paul

Thanks Paul for all you do...it is appreciated.

LoLux on the Ax-700 only functions in auto mode when auto mode is set in the menu, Probably the same with the 90.

I can't underestimate the potential value of the AF functions. All the responsiveness controls seem to make it useful for a variety of situations where AF would normally be a detriment. I've never seen a camcorder before where I might find a benefit to using auto focus in some run on gun situations where it will respond faster than my ability to manually focus.

"Depth" and Subject Change" sensitivity as well as "Lock focus" all seem like I might use or, at least, enable them when I feel the may respond faster than I can. It's like having an "intelligent" focus puller who will actually follow an instruction set.

The test will come when I do some real world work throughs though.

For me shooting in S-Log may be valuable as well. Too early for me to give full comment but I'm seeing some interesting response to potentially blown highlights that I'm exploring.

There are limited times in my ENG work, such as holding my camera up over a fence and needing to zoom in, where I can see using the AF function, simply because it wold not be possible to manually focus. I will though still primarily utilize the manual focus, which is why I wanted to point out how improved it is over the X70.

Paul

With my Sony X70 I use spot focus (in manual focus mode). With the Z90 (I do no yet have it) I probably will use PDAF. The reason is: I film in the "Direct Cinema" style (observational filming) which means: No script, no direction of the protagonists, no repetition of shots, available light only. In these situatiosn a very fast Auto Focus will be extremely valuable.

In the ENG style stuff I shoot I often find I have to move from action to action which involves a radical change in focal plane and field of view (involves zooming) and no matter how fast I am I lose the first few seconds of the shot focusing on those radical shifts. Also there are times when I have to track a subject which would require "pulling focus" which can tricky especially with servo type mechanisms. For me the AF is sort of "John Henry vs Stream Drill" scenario. In this case, it seems the Steam Drill (the AF) may actually be faster than me (if I set up the AF properly).

While not something I'd normally do for ENG style I found I was able to execute a "dolly zoom" by moving away from the subject while zooming in. That the camera maintained focus made this possible. While it might be a bit out for Journalism it means I can easily change the field of view if I need to without ever having to manually refocus.

I like to think I'm pretty decent with manual focus in most normal situations. Hell, more than half the lenses I own are Rokinon, Canon and Xeen cine lenses. However, looking at my new NX80 (same as Z90),...there is no way I can manually pull focus as fast and as accurate the a signal phase cancellation lock that these cameras do. I was just tracking my dogs running around at full speed chasing each other in my back yard this morning...I mean, DAMN!,...this AF is crazy and shockingly good.

For gimbal work or holding over a crowd? These situations require great AF.

I love manually pulling focus as much as any guy does. It's a great feeling....when you have a true "geared" lens. It's no "joy" at all on a motion-buffered fly by wire lens with endless rings. This REALLY takes the satisfaction out of the skillful art of pulling focus.

I dont care what anybody says about manual focus....This technology will be faster and more accurate than most (or any) humans can do manually on these same electronic servo lenses.

CT

For those who have not played with the new cameras yet, the center has like a 4:3 box ring filled with the AF sensors...they bristle and blink in tiny green segments showing which part of the 4:3 box focus is being achieved...same type of green sparkling boxes you see in a DSLR when you half press the shutter button.

Paul

Owning the FDR-700, I turned off the Auto Focus (new) display green boxes as I found them distracting.

What does the focus lock menu selection do?

Paul

The Auto Lock....simply tap the LCD monitor on a moving object and it will follow on to that object. Focus will always be wide. Can not be adjusted

It should be noted two 'things" relating to the manual and camera menu.

The manual is very weak. A perfect example is engaging LOLUX. Nowhere in the manual or on-line instructions does it state that the GAIN must be turned off totally so the LoLux will function.

I have never owned a camera with so many grayed-out menus. One has to go to the on-line manual and actually observe what has to be turned OFF or what other feature should not to be used in order to work with a designated grayed-out function, For example, if one uses extended zoom, it shuts off THIS AND THAT or if you use a certain Codec, it shuts and grays out THAT AND THIS.


http://helpguide.sony.net/cam/1710/v1/en/index.html

I like how the menu is not greyed out until you joystick over to the submenu...until then, all the options are brightly enabled visually. :-)

Paul

| Help Guide for Creators | Top (http://helpguide.sony.net/di/pp/v1/en/index.html)
Picture Profile link. S-Log etc.

Clips shot in HLG/BT2020 show REC709 in FCPX 10.4, and throw an error triangle if you try to set color to BT2020.

Paul

I have never owned a camera with so many grayed-out menus. One has to go to the on-line manual and actually observe what has to be turned OFF or what other feature should not to be used in order to work with a designated grayed-out function, For example, if one uses extended zoom, it shuts off THIS AND THAT or if you use a certain Codec, it shuts and grays out THAT AND THIS.


FDR-AX700 | Help Guide | Top (http://helpguide.sony.net/cam/1710/v1/en/index.html)

The manual seems to be quite a bit when it comes to what combinations of settings enable/disable certain options. It's taken me a fair amount of experimentation to see what's enabled when. Some features only work in HD, some require certain function to be in Auto mode and others require some to be in Manual.

It almost calls for a flow chart to show you what's what when.

New job opening for DPP...director of picture profiling :-P

Paul

With all the autofocus options I wish you could save autofocus profiles.

Wide (most of the screen) green focus squares can be displayed in this mode

Zone (select one of nine areas) green focus squares can be displayed in this mode

Center (focus on whatever is in the center) green focus frame displayed

Flexible Spot (pick a small zone) green focus frame displayed

AutoFocus Drive Speed speed of focusing
1-7 (slow to fast)

Subject Tracking
AutoFocus Tracking Depth range of depth when tracking subject
1-5 (Narrow to Wide)
Wide would be for fast moving subjects. Narrow would be for slow moving subjects that might have things pass in front of it.

AutoFocus Subject Switch Sensitivity time it takes to focus on new subject
1-5 (Locked to Responsive)
Faster response allows you to switch subjects quickly. Locked slower allows you to maintain focus if the subjects moves out of the focus area briefly.
Based on the above two "Sonyesque descriptionese" is that Depth is control speed of change on Focal Plane Changes whereas Subject Switch is speed of change on the same focal plane. Basically Z axis vs X,Y axis.

Lock-On Auto Focus locks onto subject selected by touching the screen

Face Detection (can select a priority face if more than one which will show double frame)

Phase Detect AutoFocus Frames turns on/off the green focus squares

Phase Detect AutoFocus Area turns on/off the AutoFocus area selected

I find the AF on this camera perfectly usable, and better, than manual focus for the majority of scenes I am shooting. If you have ever had to juggle constant gain changes, shutter manipulations, and things moving all over constantly, one less dial to simultaneously deal with is a big deal.

https://youtu.be/iecQrshCBaw

How are you setting it up?
I noticed that at 0:55 it momentarily changes focus from the "victim" to the "medic" and back. You can slow the responsiveness if you anticipate such things happening.

Paul
Your shots are amazingly stable
Are you using some sort of rig, or just simple handheld??

Nope, just running around holding the little guy out in mid-air on active steadyshot. After 3+ years of operating X70 cameras, i guess I have gotten the hang of them. I use a pretty large iKan MB4 LED panel on top, which tends to stabilize the "rig" a bit.

Paul

Great review Paul, thanks.

I was wondering if there was an attachment available so I could use some of my Vlock batteries and again somehow attach an external recorder.

Thanks in advance.

They typically do not make attachments for 1Kg cameras to mount 1.5Kg batteries onto them, or were you looking for just the cabling to do so? :-P

Paul

Hi Paul, I was just thinking of not having to change battery power as often and make use of my v-mount batteries. One vlock battery would last me most of the day on my PMW-320.

Also, I would like if possible, to attach an external recorder, for additional back-up, while recording weddings.

I feel a bit more content knowing its also recording to another device :)

Thanks.

Although not quite the same as recording to an external device, you can record to two SD cards simultaneously which would give you backup if one card should fail. Even an external recorder involves some risk because the connections are possible points of failure. Also outputting to an external device may impact available recording modes/features although I haven't investigated that fully comparing the X70 to the Z90.

If I understand what I am seeing with QFHD on my Z90, if you have an external recorder, you would also need an external monitor since the LCD/viewfinder can't display video when REC OUTPUT is set to EXTERNAL OUTPUT during recording. So I guess you'd need an integrated recorder/monitor or daisy chain or split the signal. Lots of points of failure.

For my first assignment yesterday I recorded simultaneously to both cards and used a field monitor. Really loving the Z90 so far.

Although not quite the same as recording to an external device, you can record to two SD cards simultaneously which would give you backup if one card should fail. Even an external recorder involves some risk because the connections are possible points of failure. Also outputting to an external device may impact available recording modes/features although I haven't investigated that fully comparing the X70 to the Z90.

Thanks Craig, I just got so used to backup recording from my PMW-320 to NFlash I would think it very odd not having this option.

So, I dont know this a fact but....

After working with these profiles for years on Sony cameras, I have a theory. These profile settings are only being applied to an image that was already captured and sent to the image processor as a limited rec709 source.

When you kick these Sony cameras into SLog-2, you are getting an image that was mapped directly from the sensor output. SLog-2 takes the darkest black the sensor sees and the brightest white it sees and maps it from 0-255. So,...SLog-2 is presenting the ENTIRE sensor's possible dynamic range. This is a great thing.

But what about all the rec709 profiles? Its my suspicion that an already clipped and "baked in" gamma curve is presented to the picture profile engine. All we are doing is adding knees and slopes, color phase and black levels....to an image that was already limited at 6 or 7 stops before we even started. We are not given access to the sensor's full dynamic range. These 1 inch-type sensors can see 10 or 11 stops but these non-SLog cine curves seem to dump out 3 or 4 stops at the sensor collection point.

It seems to me that we can tweak an pull and bend and flatten all we want but we are never going to "really" affect what the sensor actually "saw" because that info was already dumped before we got it.

Does that make sense? It would be like me saving a video file in rec709 and you taking that file and flattening it and trying to make SLog out of it. You cant really get much more out of it if the source itself was limited. If my video had clipped white clouds, could you take it into your editor and throw a knee into it to bring my clipped clouds back? No,...all you could do is stretch the white downward and help some of that burned out look. You cant recover what is was never given to you in the first place,

I dont know, this is just a feeling I have had for years and years on many of my Sonys. For sure SLog and HLG ARE taken from the sensor A/D conversion level. In those profiles you truely ARE accessing much more than the typical rec709.

I don't know,...just a thought I have had for years.

With regard to SLog and REC 709:

Switching the camera to SLog changes the standard Gamma curve from REC 709 to SLog, and bypasses a number of internal video processing, e.g. knee curve, etc. However, It does not change the color space, which will remain REC 709. The color space would only be changed, if it is explicitly set to e.g. REC 2020.

This is the crux with terminology. "REC 709" is used in two ways. First, it defines a color space, and second it defines a gamma curve. As said above, SLog will change the gamma curve, but not the color space.

Joachim

When I set my Z90 to HLG/BT2020, and import it into FCPX, it shows as REC709, and throws a warning if I change it to color space override BT2020, says doesn't match the clip.

Paul

The thing with Sony's HLG, ‘Instant HDR’, is that the metadata embedded in the XAVC video file when recording can be read by a supporting TV or monitor and displayed automatically with the correct HDR settings. Hybrid Log-Gamma was specifically developed for broadcast television by the BBC and Japanese broadcaster NHK. The main benefit is that HLG’s native compatibility allows existing broadcast SDR infrastructure to be re-used for 2020, 2024 and 2100 HDR transmission. The HDR encoding will automatically be displayed correctly as HDR when viewed on a TV or monitor that recognizes the HDR 2020, 2024, 2100 sub code data switch. If the TV or monitor cannot see and decode the HDR sub code data switch then the stream will only be displayed as HDR 709.

In other words if you have the color mode on your recording selected as 2020 only HDR display equipment OR NLE software that recognizes the HDR 2020 switch will correctly interpret your footage. If it is recognized as HDR the NLE software would then have to be operating though a graphics chain, e.g. graphics card and monitor that supports HDR to display it as HDR. If the hardware and software don't see the HDR switch then all that will be decoded and displayed from the 2020 recording will be the embedded 709 color space information.

HLG1, HLG2, and HLG3 all use the same gamma curve characteristic. Only the dynamic range and noise suppression characteristics differ. Regardless of whether the 2020 or 709 color mode is selected for the recording the maximum values for the recordings are the same as for SDR as this HDR workflow was designed to be run over SDR transmission systems and infrastructure. HLG1 peak is 87%, HLG2 peak is 95% and HLG3's peak is 100%. Sony's HLG2 being the best optimization between signal dynamic range and the noise floor.

Of course if the recording was color space 2020 then imbedded in that 87% to 100% range is the extra highlight information that will be extracted and displayed by hardware and software that recognizes this HDR sub code data switch and is capable of displaying the extended highlight range.

Paul I would suggest that FCPX doesn't yet have the code to recognize the HDR sub code switch and is only seeing the embedded HDR 709 information. i would think that is why it is flagging you a warning when you try to switch FCPX to 2020 color space.

Well that's how I understand this minefield of HDR as it stands. I may be wrong but I don't think so.

Chris Young
CYV Productions
Sydney

Yeah, seems like the "HDR" features of the Z90 will be something I will never play with, as I have absolutely no way of displaying footage...can't even get my Samsung 4K TV to show as HDR...oh well, not what i bought the camera for.

Paul

:))

Chris Young

I have a new Samsung 55" with HDR. Hidden deep in the menu,


I'll give it a shot in a few weeks....if I only can figure out the proper camera setting. In any event, I am not that crazy with HDR on Netflix and some YT material.

Regarding low light operation:
With camera in auto mode, AGC off, LOW LUX on, the camera will gain up as far as 33dB, shutter speed didn't drop below 1/30.

NightShot mode worked very good, AF was decent.

Mark

Unfortunately, AUTO mode invalidates anything other than AUTO WHITE BALNCE. The Z90 does retain PP settings in auto, unlike the X70 and Z150.

Paul