Re: Sony FDR-AX100
 

Ken if I was just shooting for myself then 30P may suffice since my Sony 240Hz interpolating display does a really nice job of creating the extra frames for smooth motion. However to edit and make a DVD or Bluray I need either 60i source or 60P source to get that smooth look for people who do not have a nice display. I can clearly see the difference and it bothers me (not as much as 24P ) and I even shoot at 60P with my GoPro and Sony AS30V !!

People have low expectation watching YouTube different from their TV or going to the cinema. Expectations are totally different. For low motion video the FDR-AX100 looks beautiful and just like any camera shooting at a low frame rate it will not provide a smooth motion for faster movement like dancers swinging their arms etc especially if a low shutter is used and/or closeup. In which case the interpolating TV will have more difficulty creating a nice smooth high definition image hampered by the motion blur.

Ron Evans

Re: Sony FDR-AX100
 

I hear ya Ron. As you know, part of the equation with any piece of equipment, is knowing its limitations and how to work around them. :)

I suspect that's what most wives say about their husbands. ;)

Re: Sony FDR-AX100
 

And husbands say about their wives.

Ron, let me butt in here and offer a few comments. I always pay attention to your posts and it was your thoughtful words that got me going with 60p some time ago. I don't disagree that 60p is 'technically' better than 30p if there is lots of motion involved such as the dancers video you posted. I understand that it bothers you but you are producing the stuff and consequently are very critical, I would suggest much more critical than the average viewer.

Regarding the expectations of people in respect to YouTube, TV and Cinema I caution you on drawing such generalizations as the water gets deep very quickly. To say that 'expectations are totally different' is indeed a mouthful and questionable, and of course I take it you are referring to the general viewing public. To give an instance of the shifts unfolding many people, two of my brothers included, now watch YouTube video on their TV via Ethernet cable from the modem to the TV. I would suggest that your exquisite fine eye is lost on such people and my data-free observation is that content is still King and the faint difference between 60p and 30p even in such scenes is of no practical significance to most folks.

Yes, presumably (I have no data) movie goers do expect pretty pictures but let's not forget that they have been watching 24p since the beginning and to my old eyes 30p looks much better than 24p especially if there is much motion involved.

Having said that I'm not for one moment suggesting that you lower your production standards especially if your customer base expectations are at risk but for enthusiasts whose audience is family and friends, and Vimeo freaks perhaps, then I have difficulty believing that the AX100 will draw howls of indignation because of the 30p frame rate. I would go so far as to suggest that folks should not be dissuaded by the 30p limitation even if shooting motion such as the dancers you referenced.

Now if only B&H would get the AX100 in stock I would place an order.

Cheers...

Re: Sony FDR-AX100
 

Totally agree John. We too sometimes watch YouTube on our TV via the Sony Bluray player wireless interface to the internet and then the interpolating 240Hz TV. Does not look so bad !!! People shoot video on their cell phone and then show them to others on their cell phones too. I communicate with Skype to my wife when I am off on a ski trip. All totally different quality levels and expectation in my mind. If I go to the cinema it better look better than my cell phone. The skill level of camera work is also greater so judder inherent with 24P is less obvious and faster motion is often shot at high speed and slowed down. I do not think that with this range of displays the average user will be able to verbalize the differences they see and will not notice 30P as you say especially that everything they see on YouTube is 30P anyway !!!.

For the average user I think it will depend on what they are shooting and viewing the output on. If they do not have a 4K TV then they will be watching a 1920x1080 output from the FDR-AX100. Will they actually see a difference from shooting at 1920x1080 XAVC-S that could be at 60P for smoother motion ? Does the FDR-AX100 actually do frame interpolation for the HDMI output to 1920x1080. Would be interesting to know as Sony certainly has the technology.

Ron Evans

Re: Sony FDR-AX100
 

Just got my AX100 this afternoon. Im sceptical of 4k at only 60Mbp/s. Time to torture test the motion handling and low light resolution in the shodows. Lets see if can hold up without blocking and mudding up the blacks.

Oh...just to clarify. The AX100 WILL output clean 1080 over HDMI while recording 4k! So, yes, you CAN monitor and record 1080 and still shoot 4K simultaneously! I like my live scopes. (Thanks Sony!)

CT

Re: Sony FDR-AX100
 

Whose talking about making money? Trains made lots of money even during the first decades of air travel. I'm talking about what people are interested in reading about. What they will buy this year or next. What equipment they will stop using like analog when digital was released. What will be big at NAB.

RAW cameras can't even be called video cameras because they don't record video. So your future cameras will never create video nor will you edit video. In the near future you will not be doing video production. The word video will go the way of the 8-track and the 45 record. You'll need to learn a whole set of new skills -- those that come from digital cinema. Yes -- video is a deadman walking.

What publications do you read every month? What newsletters do you read everyday or every week?

Even if they use the word "video" in their title as does DV, I can tell you the content majority is Hollywood productions, Indie productions (both of which are shot at 24p), cameras (Canon DSLR, Pana DSLR, Red, Blackmagic, Digital Bolex, KineRaw, Arri, Sony F3 and up (most of which are RAW and many use log), software (CinemaDNG and Resolve), and, the newest topic "grading" which is definitely not our old friend CC.

Here's a list of this month's DV features:

1) Hands On, Handheld: Camera Moves With Freefly Systems' MoVI M10
MoVI is a revolutionary camera stabilizing system optimized for compact, “squarish” digital cine-style cameras.


2) High Performance, Even Higher Resolution: Blackmagic's Production Camera Points the Way to 4K


3) 2014 NAB Show Preview: First Look at the Trends, Tools and Technologies
ARRI Amira and 4K’s second year at the NAB Show. If trends hold true, we will see many companies touting it as a mainstream production and postproduction methodology.


4) The Beauty of 'Belle': Ben Smithard, BSC Finds Romance With Sony’s F65
Ben Smithard was on his way to producers offices to pitch the Panavision Genesis camera when he noticed a Sony F65 at the Pinewood Studios rental facility.


5) Spotlight: Affonso Gonçalves, Editor, 'Only Lovers Left Alive'
Shot on 35mm film.


6) 'In No Great Hurry': Documenting the Work and Wisdom of Photographer Saul Leiter
Leach shot the film in 16:9 aspect using a Canon EOS 5D Mark III.


7) 'Live from Space': NASA and Nat Geo Air Live Special That’s Out of This World
National Geographic Channel, Arrow Media and NASA are teaming up for Live from Space


8) Non-Stop Camera Movement on 'Need for Speed': How Cinematographer Shane Hurlbut Captured All the Action
The first studio feature film shot with Canon’s EOS C500 camera,

OK -- how many stories covered "video?" Knowing Oliver (#3) will cover mostly Cinema cameras and #7 is certainly not video in the sense of the products we use.

So an entire issue of Digital Video magazine -- and this is true month after month and has been true for many years -- doesn't have a feature on "video." Plus their other publications are "2-pop" and "Digital Cinematography" and "millimeter." Obviously none of these cover video.

Broadcast Engineering which did focus on video died last fall. Video Systems died years ago. That leaves Videomaker which is focused on the consumer newbie.

Editors have no interest stories on compressed format cameras -- although I did last year do a review of a Panasonic AVC- Intra camcorder. Can't even remember the number. They aren't interested because they know there is no interest by the public in reading about what are becoming legacy formats. How many times can someone read about MPEG-2 or even H.264.

Moreover, companies know they will continue to sell AVCHD/NXCAM in huge quantities without having to pay for marketing -- they want to place ads for their new products.

I know what's on my list of "stories to do" for DV. Nothing "lower quality" than 4K and ProRes. Ideally stories on RAW, LOG, Grading, CinemaDNG, and HVEC.

I'm not trying to hurt anyone's feelings, but this NAB will be the point at which both RAW and 4K start to become big sellers. IMO the AX100 will change our world as much as did the VX1000. And, the BM and Digital Bolex cameras will do the same. Together, video equipment will be seen in the same light we looked at Beta SP. Tons of people still using it and DEFENDING IT, while making plans to go to digital ASAP. This 4K/RAW/ProRes revolution will happen in less than 3-years because 8K is coming in 5-years.

PS: I love the 60p look and I hate what people do when they grade. Personally, I agree with all of you. But, I can't make a living trying to go someplace the industry doesn't want to go.

The best quality folks have seen or will see is at the theater. That's 24fps. The majority of shipping 1080p and 2160p products (DSLR, etc.) have 30p as their top rate. Yes, cameras will get 60p and 120p, but it will be for SLO-MO. Despite OUR preference for 60p, I don't see the industry having any incentive to move from 24fps -- which is the gold standard for quality the world over -- to use their bandwidth for 60p while at the same time moving to 4K. That's over 8X more data!

Re: Sony FDR-AX100
 

>>Oh...just to clarify. The AX100 WILL output clean 1080 over HDMI while recording 4k! So, yes, you CAN monitor and record 1080 and still shoot 4K simultaneously! I like my live scopes. (Thanks Sony!)

Cliff, I'm confused now (not surprising) about being able to use an external monitor while recording 4k. Ken had posted that his understanding was that no signal went out to HDMI while recording 4k. Then I found apparent confirmation of that in the .pdf manual, which says:

"While recording XAVC S 4K movies, you cannot output movies to an external monitor via an HDMI/video connection. Only the on-screen display is output (models with the 4K functionality)."

Are you saying you have actually seen it output to an external monitor via HDMI during 4K recording? If so, that is very good news because this capability is important to me. (I do see now in some recent posts that an alternative is to use wi-fi and the Sony app to monitor and control the camera with a tablet/phone while shooting 4k. That's a good alternative.)

Re: Sony FDR-AX100
 

Referencing the "Hello Kitty" video, while there was definite motion blur, somehow it didn't appear objectionable, and blur from fast motion rather than stutter seems preferable, and natural enough.

The rest of the frame is of course nice and sharp, and probably raises expectations even more, but 30p and the "low" bitrate seems to be "working" fairly well overall - seems like Sony is arranging the 1's and 0's rather artfully? I'm in the 60p "camp", but if 30p can look this good, it's hard to argue too much... I've been plenty happy with the RX10 and RX100M2 for video use, it's actually surprising to see the bar raised so far so quickly - good times!

@Ken - I pulled up some of my RX10 video alongside the "Hello Kitty" video... I see what you mean... hmmm, RX10/100M2 still look pretty good, not much to quibble with, but 4K changes the expectation, even on "HD" screens! I think they will still intercut OK, with a little creativity, but now more than ever I'm wishing Sony had enabled 4K in the RX10...

Re: Sony FDR-AX100
 

I need to correct this. I made a HUGE mistake about this. Here is the evil truth:

When the AX100 is set for 4K, it's HDMI port outputs clean 1080 nicely. However, when you hit the "record" button, the camera actually SHUTS OF THE PORT!!!! So, you can watch what you want live on the HDMI, just don't hit the record button!

This one is dirty. I mean, what was Sony thinking? They show you clean 1080 right up until you start the recording and then suddenly pull it back??? Maybe it's a joke programmed by a rouge firmware engineer that Sony will repair on a future firmware release. Maybe Sony managers and testers missed this? Could this be just a simple "bug" or unintended "glitch" or one line of mistaken code?

I have seen dirty crippling tricks in my years but THIS one ranks up at the top. I love this camera so far but this petty stunt is a wonderful way to unnecessarily aggravate their precious customers.

It's not even a hidden, masked or covered cripple, it's a down right slap in the customer's face.

Ouch....that one stings and will leave a mark.

CT

Re: Sony FDR-AX100
 

Lucky owners of AX100, congratulations!
can anyone please post couple native files, low compression, day\low light?
thx!

Re: Sony FDR-AX100
 

Based on what I've seen Ron, no. When I hook my AX100 to my 1080p plasma without frame interpolation engaged on the display, rapid motion lacks the smoothness of a 60p recording. However the smoothness is there when I engage the display's interpolation.

So logically it would seem that if the AX100 was doing the interpolation in-camera, it would not be necessary to do it at the display.

Re: Sony FDR-AX100
 

Cliff, please tell me you're not going to be wildly waving the camera looking for RS and motion artifacts. Please. :)

BTW, I find the low light of the AX100 very close to that of the RX10.

Re: Sony FDR-AX100
 

Dave, it's kind of painful to see our beloved equipment outdated so quickly. I'm hoping I can at least get a few weeks out of the AX100! :)

But you're right, I see no reason you won't be able to intercut RX10 & AX100 footage with a little bit of attention to detail (pun intended). ;)

Re: Sony FDR-AX100
 

Nah, I don't think so Cliff. I think there is only so much processing power that's available at this stage and at this size and price. The AX100 is probably flexing all its muscle to get that 4K information on to the media and there simply isn't enough left over to simultaneously output clean 4K or 1080p. I bet if they did it would cause glitches in the actual recording. I'll take a clean recording and use the wifi workaround in the interim if I needed that simultaneous monitoring.

I just don't think this is any kind of conspiracy or bug.

Re: Sony FDR-AX100
 

Nah,..no wild waving. I'll put it on a tripod, get in front of the shot and move around fairly quickly. Like a singer or guitar player in a rock band or maybe as much as a dancer would on stage.

I shoot allot of indoor stage stuff with allot of dark backgrounds. I'm curious to see how the compression affects the shadows. Stressed out compression can block up quickly in the blacks and darker details first.

So far, I'm surprised it holds up as good as it does.

As far as Jell-O rolling shutter, 24p shows up allot more than 30p. (still testing)

I dont care about crazy camera waving. I'm more interested in real world shooting on a tripod and steady slow panning handheld.

This HDMI cripple/ shut off stunt has me fuming!

CT

Re: Sony FDR-AX100
 

Buba, here's the very first clip I shot out of the box, in a rush. You can download the native clip if you're a Vimeo member. The gentleman in the video is Robert Zahn of Value Electronics where I bought the AX100. A super guy BTW or shares our enthusiasm for video.

Robert was standing under the store's skylight as the sun was moving in and out of clouds. So the contrast was as severe as it gets. No manual settings were engaged.

Re: Sony FDR-AX100
 

Hey guys I just got mine and have been playing with it. I notice that in full auto mode the shutter defaults to 1/60th, but since it records at 30fps in 4k mode wouldn't it be better to manually set that to 1/30th shutter speed when recording 4k? I know that violates the 180 degree shutter rule, but keeping the shutter open a bit longer seems to help it a good amount in low light situations. So for example I'm filming down a hallway and the camera says 18db of gain with 1/60th shutter, but when I switch to 1/30th shutter the gain drops to 12db since it has more time to soak in light. In theory that should help reduce the 30fps judder a bit as well. What do you guys think? Or is this a pure preference thing as some maybe think 1/30th shutter would smear the image too much during movement?

Re: Sony FDR-AX100
 

If I remember there is a low light mode which drops the shutter-speed to 1/30th. Did you get a complete manual with yours?

Re: Sony FDR-AX100
 

Yeah it's the low lux setting which drops to 1/30th shutter when there isn't enough light. I'm just curious why I wouldn't always use that in 4k mode given that it records 30fps in 4k mode anyways, and given that 1/30th shutter results in a cleaner image with less noise due to less artificial gain being applied compared to the default 1/60th shutter in full auto. It won't compare with a real 60fps mode for smoothness, but with the shutter basically being open all the time (compared to half the time at 1/60th setting) means it should also result in smoother motion no?

Oh yeah I'm also actually surprised at the size of the camera, it's actually quite large! I'm used to my NX30 which is tiny in comparison. So far I like it enough that my NX30 will be hitting ebay tomorrow.

Re: Sony FDR-AX100
 

Are you there Chris?

As this camera is now released, isn't it time for it to get it's own forum?

This thread is getting a bit ponderous and it's hard to follow everyone's different discussions!!

Cheers,

Vaughan

Re: Sony FDR-AX100
 

Using 1/30 will blur any motion in the frame. I have tried that on my FDR-AX1 at 30P. 60Mbps and 1/60 gives a much nicer image and a clean image for the interpolating displays to create the extra frames for smoother motion. If it is a still shot with no motion at all then it will work but even leaves blowing in the wind make the image soft and look out of focus.

I too am considering changing my NX30U for a FDR-AX100 but will wait and see if there is anything that has 60P first.

Ron Evans

Re: Sony FDR-AX100
 

Re: Sony FDR-AX100
 

I posted this above - it is native from the camera, but has high- and low-light scenes, with movement:


You can download the original XAVC-S video.

Re: Sony FDR-AX100
 

Pete, the default to 1/60th in auto mode will be seen primarily indoors. You will rarely see 1/60th in brighter outdoor light. If left on automatic, shutter speeds in the area of 1/500th won't be unusual.

The problem with keeping the shutter locked at 1/30th or even a 1/60th, can be that depending upon how bright the light is and what level of ND filter you're using, you can be shooting at very small apertures. Of course this applies to outdoor shooting.

BTW, one thing you might consider is to limit the amount of gain that the AX100 applies. Within the menu system, you can find this option. Limiting the gain might result in a somewhat darker image, but that image will have less noise and may more accurately reflect the brightness level your eyes actually see. Leaving the gain on full auto often results in the camera applying more gain than is necessary.

Re: Sony FDR-AX100
 

Clive, after seeing this, I'm afraid to go to sleep tonight! ;)

Re: Sony FDR-AX100
 

Ken, while we still await delivery in the UK (April 14th now) I would value your opinion on the AX100's image stabilization and Lens quality, colour depth against the RX10, I can see the improvement in resolution but wondered how the rest matched up.

Thank you
Paul

Re: Sony FDR-AX100
 

When I shot that yesterday that little fly was about 3mms long. I used a little bit of digi zoom. In 4k mode I could really see the segmented eyes but in 1080p mode even with more magnification the eye details were not showing up as good.

Re: Sony FDR-AX100
 

Some comparisons in low light to the NX30U would be useful Peter. I find the AX1 is about a stop or two slower than the NX30U or my NX5U, depending on conditions. A side by side comparison in the theatre of the CX700 and AX1 for a dark scene showed the AX1 at 21db ( I set the limit) and the CX700 at 12db. Both were at f 2.2 . My wife was using the NX30 for closeups so do not have a direct comparison with that. The CX700 and NX30U are very similar though.

Ron Evans

Re: Sony FDR-AX100
 

Paul, the standard image stabilization is significantly better than it is on the RX10. It's not quite as good as it is was on one or two camcorders I've used in the past, but still very good.

Upping the ante to active image stabilization does improve things a bit, but what I don't like about it is it automatically engages 'clear zoom'. Although clear zoom is pretty good, I like to stick to optical zoom in any camera I use. Unfortunately I see no way to engage active IS and disengage clear zoom. That's probably because the two are married in terms of how they both work and interact.

Lens quality seems excellent. I don't notice any obvious lens abnormalities. I haven't seen any purple fringing on tree limbs against the sky or other tell tale lens issues. Corner to corner sharpness seems excellent. I'm very happy with the lens Sony is using.

Color is somewhat different, IMO, than many past Sonys. Many Sony users are accustomed to the 'in-your-face' color that Sonys often have. Such is not the case with the AX100. The saturation appears a bit more tame than in the past and a bit less saturated than the RX10, but yet very natural. I suspect that more experienced users might actually like this. For those wishing for a bit more saturation outdoors, there are two easy approaches to this. You can try 'cinematone' that seems to be implemented a bit better than in past Sonys. It will give you a somewhat more saturated, contrastier and somewhat redder image. This may be well suited to landscape shooting, but I'm not sure how it will fare with flesh tones. The weather here hasn't been conducive to trying it.

The other approach is simply to shoot without enhancements and, if you wish, raise color levels in post. The AX100 footage is very well-suited to doing this if that's what you choose. You can easily get the old Sony look if that's what you're after.

I've also noticed the tendency to oversaturate with indoor lighting, that's so typical of most video camera's AWB, is not present in the AX100. I find colors to be very natural with just the right amount of saturation.

Re: Sony FDR-AX100
 

Ah ok I was wondering if it would smear things too much but I haven't used it enough yet to be sure about that. Thanks for that info. Yeah the NX30 is a tough act to follow, I thought it was an unusually good all around camera and it's tough to replace! I do miss 60fps but looks like the AX100 will work for me for now until a 60fps model comes along.


Cool I'm not the only one that noticed that! Colors do seem less punchy than my NX30, but I also think it's giving a more natural look. Almost seems like the white balance is a touch better as well, although maybe that's a result of them not mucking around with the colors as much.

Re: Sony FDR-AX100
 

Quote :
Color is somewhat different, IMO, than many past Sonys. Many Sony users are accustomed to the 'in-your-face' color that Sonys often have. Such is not the case with the AX100. The saturation appears a bit more tame than in the past and a bit less saturated than the RX10, but yet very natural.levels in post.


Thanks Ken, over the last few years we seem to have had the similar taste in camcorders, chasing the best quality available, so i'm sure it will suite me fine and may finally knock me off the eternal upgrade path for a while!

Re: Sony FDR-AX100
 

Have had my AX100 for 1 day now.

Generally speaking it's looking pretty good here are some quick observations:

CODEC - 60Mbp/s is low alright. However, it does seem to hold up fairly well! I'm not complaining about 30p because it's my favorite frame rate anyway. I do notice an occasional "harsh" motion look at times. I cant put my finger on it. Sometimes I see it and other times it's perfectly fine. (maybe it's my eyes?)

I do notice a very light "grainly" look in the blacks, even at 0DB. It's a very very light "speckle" in the shadows. I don't know if this is from the CODEC or if it's pre-CODEC and read from the sensor that way. (maybe during de-Bayer?) It's very, very light and I'm still testing it. (my opinion is neutral on this right now)

LANC - Yes, it does have LANC! I'm using the Sony Multi Interface adapter and adapting it to and on LANC controller. Works great! (Good job Sony!!)

AUDIO QUALITY- When switching to manual and lowering a bit, preamps are pretty clean. I tested with a RODE shotgun and Sony sterero Multi-show mic. Sony allowed it to have clean preamps. (good job Sony)

AUDIO DELAY - Yes, it's true. Sony put the old Handycam headphone delay on the AX100. So, as will many Sony Handycams, the headphones are about 35 milliseconds BEHIND the live audio. (bad job Sony)

ZEBRAS - Sony gave us Zebras with 5 IRE increments!..not the typical locked 70 and 100 values. (Good job Sony!!)

COLORS - The AX100 colors seem to be a bit too saturated for my taste. I like that look too, but only "after" the CODEC,...not "before" the compression. It might be fairly easy to clip a color channel doing this. Contrast is strong too...not the best combination for post grading. Sony gave the RX10 simple "saturation" and "contrast" reduction controls. I wish they moved that simple thing over to the AX100. Yes,..this is TOTATLY subjective and might not mean anything to other people's workflow.

HDMI shut off trick when you hit the record button? I don't EVEN want to think about that one. (watch the "pro" version not have that cripple..lol)

Only big question left for me is the CODEC. Still testing that.

Re: Sony FDR-AX100
 

If it's got the processor grunt to send the image via WiFi, why can't it send the same image through a simple socket instead? Surely it's more work to encode and transmit a WiFi signal than HDMI or similar?

Re: Sony FDR-AX100
 

Mark, not sure, but it wouldn't surprise me given the compressed nature of wifi signals, if it wasn't easier doing this via wifi than the video being directed out via HDMI during recording. Am I sure of that? Not by a long shot, but it's just my intuition.

Re: Sony FDR-AX100
 

Interesting observation and I'm curious to see how people weigh in on this. I've had many Sony cams over the years, and this one seems the most 'tame' of all I've owned. So I'm a bit surprised to see you say this, but as you say, it is subjective.

I do agree it would have been nice for Sony to give more control over saturation & contrast. But with that said, I'm certainly not complaining about the overall package. No matter what the camera, there's always something to complain about! :)

Re: Sony FDR-AX100
 

@Mark -
I'm "guessing" that the WiFi image is much lower rez than HDMI? Can anyone confirm the resolution on phone or tablet? I'm with Ken that the horsepower is probably not there to encode/write AND generate a signal to HDMI, but who knows!? I'm sure the Sony engineers had a "good" reason, but from this side of the looking glass, it's hard to know these things, we can only guess....



@Cliff -

re: the LANC... can you confirm the configuration you're using - I'm presuming the VMC-AVM1 adapter and RM-AV2 with the "D" A/V plug? I've got that combo and am trying to sort out using it with the RX series... it "should" work, but for some odd reason doesn't (see above!). The VPR1/VPR10 remotes use the MULTI, have the same chip that is in the AV2, which basically does the same thing in both units - allows remote control of zoom, on/off, shutter, record (the VPR "handle" I have adds a couple things). Glad to hear that it "should" work with the AX100 at least, as the camera is on the "acquire soon" list.

The instructions with the AVM1 show it for "Handycam", but strangely not for the Cybershots, even though the interface is definitely THERE on the MULTI interface to allow remote control!

So far I've got pinouts, and have the two controllers apart for "examination", just haven't figured out the "key" to unlock the function - Sony uses "trigger" resistors, and somehow the VPR's do something a little different from the AV2 LANC controls... I suspect it's just a resistor on one of the other pins....

It would help to know for sure that the AVM1/AV2 combo does work on the AX100, I'm presuming that the VPR's also work...

Sony comes up with these "new improved" interfaces, and it's "fun" to try to figure out how to make them do what you expect!! The MULTI seems to replace the A/V, which replaced the LANC and A/V.

Re: Sony FDR-AX100
 

I just got an email from B&H that said the AX100 is now in stock.
Who pre-ordered one?

Re: Sony FDR-AX100
 

I would suggest that anyone ordering this from B&H do it soon, since it will probably go to 'back ordered' before too long.

This has not proven to be an easy camera to get and I just lucked out getting it from Value Electronics.

Re: Sony FDR-AX100
 

Yup, I got the Sony multi interface to the older AV "round" adapter. I have another LANC to Sony AV "round" adapter to convert that.

I originally got this for my RX10 and that didnt work. I just tried it in my AX100 and it worked perfectly.

CT

Re: Sony FDR-AX100
 

Nice job.

The Vimeo site only shows an "HD 1920x1080" file -- no 3840x2160 file which makes sense since I don't think Vimeo supports UHD. But, your info says you shot 4K. Did you upload FHD or UHD? In any case, the only download isn't UHD it's FHD.

MOREOVER, it is not the original file uploaded file. It is the Vimeo 4.5Mbps compressed FHD file. (I'm not sure why anyone is using Vimeo now that they are shooting UHD.)

On YouTube there is a UHD version that can be played, but Downloading isn't possible.

It would be nice to be able to download the UHD version.

Were you mostly shooting in Tele because there was a lot of very tiny jitter?