New Sony E-mount video cam for IBC

[Josh Bass]

What do you guys think about doing ENG style shoots (following faster moving subjects, or uncontrolled subjects) with these style cams (i.e. sensor size/shallow DOF, lens zoom range limitations compared to fixed lens ENG cams) in general? I have only used C100 a few times and it was for talking heads or situations where I was quite far from subject so focus plane was more compressed.

One thing I like about the ENG cams is that you DON'T have to futz with switching lenses all the time. I shot B-cam on some interviews the other day with a 5DM3 and 24-105. I was probably 4 feet or less from the subject to get a tight CU at the end of the zoom range. If I understand correctly, with an S35 sensor cam I could have backed up to all of about 6 ft away.

Do you guys find you can stop down enough/crank up your ISO enough to get enough DOF to not be manually tracking focus all the time (especially on a BOXING MATCH. Sheesh!)?

I love the look of those types of cams but worry about the practicality in the field.

[Mike Watson]

Using the FS-100, I found the servo focus ring to be more of a problem than the shallow DOF. Using a mechanical focus ring, I could keep them in focus most of the time.

[Josh Bass]

Hmm. Good point. I guess I'm spoiled by almost always using manual rings. I tried out the X70 at a local store and that ring was one of the things that put me off it (though maybe more 'cause of the long throw than the servo-ness of it).

[Andy Wilkinson]

I get on pretty well with the C100 for run-n-gun BUT the main limitation is the very short focus throw on my (Canon stills) lenses...which is why I also have a PMW-300 and use that in certain work. Horses for courses.

It is possible to get a pretty decent "keep" rate for shots using cameras like the C100 once you know the limitations but there is no doubt it's a lot easier sometimes on my PMW-300. However, that won't go as wide as the C100 with an ultra wide angle on it, won't produce such pretty pictures (especially in low light where the Sony will get soft when shot wide open) and of course does not allow such control over DOF, when you want that - especially in controlled interviews etc. Skin tones also look a lot better on the Canon.

I suspect the FS5 will be a similar beast to the C100 for ENG - although with the servo controlled (via camera zoom rocker) 18-105mm Sony G kit lens it'll perhaps allow one to operate it a bit more like an ENG camera (Alister Chapman inferred as much in a Facebook comment this morning).

[Andy Wilkinson]

Just to clarify some information that I posted yesterday on this thread. Initial reports said there was not a Waveform Monitor on the FS5 - which worried me a little as I use the WFM on my C100 and Ninja Blade a lot.

[Mike McKay]

Very good news!

[Glen Vandermolen]

Originally Posted by Andy Wilkinson

Just to clarify some information that I posted yesterday on this thread. Initial reports said there was not a Waveform Monitor on the FS5 - which worried me a little as I use the WFM on my C100 and Ninja Blade a lot. Well, this hands-on article says the FS5 does have a WFM - thank goodness! It has some other interesting information/impressions about the camera too.

Alister Chapman recently shot with a pre-production model. His review is here:

The Sony PXW-FS5. Run and Gun Super35 for all. | XDCAM-USER.COM

I was able to ask Alister via a Facebook Q&A whether the camera had a WFM. He said he did NOT see a WFM as an option on the camera he used, only a histogram. Now, bear in mind Alister used a pre-pro model, so this may change. Or not.

[Andy Wilkinson]

I really hope it will have WFM....

It's especially important to have this tool when shooting QFHD at just 4.2.0 with the 100Mbps XAVC-Long GoP as, from what I have read, one needs to get exposure absolutely right/it's not too forgiving and it won't take too much manipulation in post.

Did the FS700 have a WFM? (since some of the guts of this camera appear to be similar).

[Dmitri Zigany]

Originally Posted by Andy Wilkinson

Did the FS700 have a WFM? (since some of the guts of this camera appear to be similar).

Nope, no waveform on the FS700.

[Steven Digges]

I have that lens and I like it. Sony designates it as a "G" series lens. Therefor by that badge it is not a kit lens. A "G" series lens by their definition means it is supposed to match their Zeiss lenses in quality. That "G" badge is a bit of a stretch in my opinion but it is a good lens and not a kit lens. It is tack sharp and matches all of my Canon "L" glass in that category. I don't think they would ship a 4K camera without a sharp lens and this one will do it.

The constant aperture is a necessity for me and it has it. The zoom is reasonably quick. It is of course a servo so MF is not good but it is usable when you need it. You don't need MF often as the AF is excellent. It Zooms internally so you have no extension problems. Being F4 it is very light yet feels solid.

Now with all that said this is the lens that is well documented to have a problem on some FS series cameras like the FS700. At the wide end it distorts and pincushions. NEX series cameras have internal processing that corrects this. I don't now what all of the compatible series are but it is strange to me that a lens requires electronic correction.

I am completely sold on Sony's e-mount system because I am heavily invested in Canon "L" series glass and it is awesome to be able to use it all with a Metabones adapter.

I think the 18-105 G servo is a good place to start with this camera. The e-mount will let you take your lens selection any place you want to go.

Kind Regards,

Steve

[Dmitri Zigany]

Originally Posted by Steven Digges

Now with all that said this is the lens that is well documented to have a problem on some FS series cameras like the FS700. At the wide end it distorts and pincushions. NEX series cameras have internal processing that corrects this.

The FS700 now supports the 18-105 since the last firmware that came out quite some time ago.
At least in HD. In raw output I don't think it can correct.

[Nick Fotis]

Originally Posted by Steven Digges

I have that lens and I like it. Sony designates it as a "G" series lens. Therefor by that badge it is not a kit lens. A "G" series lens by their definition means it is supposed to match their Zeiss lenses in quality. That "G" badge is a bit of a stretch in my opinion but it is a good lens and not a kit lens. It is tack sharp and matches all of my Canon "L" glass in that category. I don't think they would ship a 4K camera without a sharp lens and this one will do it.

Just a nitpick: the 'G' designation comes from the Minolta days for their professional series of lenses (in a-mount) when Sony acquired the company and entered the SLR photography market.

And I agree that the 18-105/4G lens is nice - very improved, especially compared to the older 18-200 kit lens (we use both - the old lens is quite softer, even in HD resolution with the EA50 we use it with).
Often the 18-105 is paired with an a6000 mirrorless camera as a general purpose zoom lens, with very satisfying results.

N.F.

[David Heath]

Originally Posted by Andy Wilkinson

I really hope it will have WFM.....

Saw one at a demo yesterday, Andy, and the answer is "yes".

Originally Posted by Josh Bass

I shot B-cam on some interviews the other day with a 5DM3 and 24-105. I was probably 4 feet or less from the subject to get a tight CU at the end of the zoom range. If I understand correctly, with an S35 sensor cam I could have backed up to all of about 6 ft away.

Do you guys find you can stop down enough/crank up your ISO enough to get enough DOF to not be manually tracking focus all the time (especially on a BOXING MATCH. Sheesh!)?

I love the look of those types of cams but worry about the practicality in the field.

There need not be any significant difference operationally in depth of field terms. With a large sensor you will get the same dof as with a smaller sensor by going to a smaller aperture. You may think "but that's no good if the light is poor"!? but remember bigger sensor means much higher base ISO - so it's back to square one. (Something like an EX1 may have had max aperture of f1.9. With the kit lens on the FS5 it's f4 - but a very high base ISO - see what I mean?)

Of course, put a fast prime on a large sensor and that's when it changes. Then you really will get very shallow dof and excellent low light performance - but think of it as an option that's being given, not an inevitability.

Downside is zoom range. Do you need a good wide angle AND a 10/12x zoom without changing lenses?
If so, that's when they become at a disadvantage compared to 1/2" or 2/3" cameras.

[Steven Digges]

Just to be very clear on lens options here are the two choices you have with very similar specs. This shows how far Sony will push that "G" designation. Both lenses are e-mount and compatible:

This is the 18-105 G F4 the FS5 can come with:

Sony E PZ 18-105mm f/4 G OSS Lens SELP18105G B&H Photo Video

This is the recommended lens for the FS7, a true broadcast quality lens for a broadcast camera:

http://www.bhphotovideo.com/c/product/1082051-REG/sony_selp28135g_e_pz_28_135mm_f_4.html
Decide how much you want to spend and take your pick. But, as I said before, the e-mount is awesome, your lens options are almost limitless. I run several Canon and Sony lenses on my two EA50s. As Nick said, the only lens I am not crazy about is the original kit lens my first EA50 came with. It is truly a kit lens. The 18-105mm G is a huge step up.

Kind Regards,

Steve

[Mike Watson]

Originally Posted by Steven Digges

This is the recommended lens for the FS7, a true broadcast quality lens for a broadcast camera:

Sony FE PZ 28-135mm f/4 G OSS Lens SELP28135G B&H Photo Video

I would cough up the $2500 in a heartbeat... if I never planned on shooting a wide shot again.

28mm at a 1.5x crop factor is a 42mm equivalent. Nice if I was a portrait photographer, but I gotta grab an establishing shot every now and again!