Sony F5 test review

À respectivement 13 000 et 25 000 €, les F5 et F55 sont des caméras agnostiques (elles répondent/croient à toutes les philosophies de tournage et de montage) qui envahissent le marché, sur un paddock ou seules régnaient jadis la Red Epic et l'Arri Alexa/amira. Elles sont désormais 3 sur le podium.

Les mises à jour régulières de la caméra (via SD card après téléchargement du firmware sur le site de SONY) permettent d'ajouter de nombreuses options gratuites.

Voici la liste des améliorations offertes par la dernière mise à jour en date, la 3.0:

1. XAVC QFHD recording
F55 is compatible with XAVC QFHD, 3840 × 2160 recording. Supported frame rates are 23.98PsF, 25.0PsF, 29.97PsF, 50.0P and 59.94P.

2. MPEG HD 1280x720p recording
F5/F55 is compatible with MPEG HD 1280 × 720p. Supported frame rates are 50.0P and 59.94P. Video output format is HD 1280 × 720p or SD signal via SDI outputs.

3. S&Q motion on XAVC 4K and QFHD
F55 is compatible with the Slow & Quick Motion when the recording format is XAVC 4K or QFHD. Available frame rate is 1FPS to 60FPS by 1 frame step.

4. Additional S&Q frame rate on XAVC HD 1920 x 1080
The available FPS is expanded and added on XAVC HD. Available Fame rates are 1-60, 72, 75, 80, 90, 96, 100, 110, 120, 125, 135, 144, 150, 160, 168, 175 and 180 when System Frequency 23.98, 24.0, 29.97, 59.94 is selected and 1-60, 72, 75, 80, 90, 96, 100, 110, 120, 125, 135, 144 and 150 when 25.0 or 50.0 is selected.

5. S&Q motion on XAVC 2K 2048 x 1080
F5/F55 is compatible with the Slow & Quick Motion when the recording format is XAVC 2K, 2048 x 1080. Available frame rates are the same as XAVC HD.

6. Additional FPS on RAW recording
Available FPS is added on RAW recording. Available Fame rate are 1-60, 72, 75, 80, 90, 96, 100, 110, 120, 125, 135, 144, 150, 160, 168, 175, 180 and 240.

7. Center Scan mode on Slow and Quick motion
Center Scan mode on Slow and Quick motion is added. When you shoot HFR faster than 60fps, you can select Center Scan mode or Full scan mode alternatively.

8. Center Scan mode for Super 16mm lens
When you select Center Scan mode, you can use Super 16mm lenses and record XAVC HD, XAVC 2K, SStP and 2K RAW.

9. User definable clip naming
F55/F5 is supporting selectable user definable clip naming method.

10. AES/EBU digital audio input
Digital audio input with AES/EBU format is available. Four channel audio inputs are available by two AES/EBU connectors.

11. RAW playback via F5/F55’s connectors
Playback signal of RAW recording on the AXS-R5 attached to F5/F55, can be output from SDI, HDMI and VF output on the PMW-F5/F55. Also selected MLUT is applied to RAW Playback signal.

12. Save and Load Lens file and Scene file via SD memory card
Up to 64 Scene Files and up to 64 Lens Files can be saved on an SD memory card. Saved files can be loaded to the internal memory.

13. Available Cine-EI operation on only SxS recording
Cine-EI mode is selectable without R5. During SxS recording only, you can do Exposure Index operation and change EI values.

14. New color gamut and Log curve
S-Gamut3.Cine is available and easy to adjust for digital cinema (DCI-P3). For detail information, please refer to the document “Introduction of S-Log3 and S-Gamut3.Cine” which will be posted in Beginning of January.

15. User LUT and Look Profile, 3D LUT
User LUT (1D) and 4 types of Sony Look Profiles 3D LUT are added for Monitor LUT selection. You can create User LUT by using RAW Viewer V2.1, and up to 6 User LUT can be stored on the internal memory via an SD card. Sony Look profiles provide easier starting point of color grading for TV workflow. For detail information, please refer to the document “Sony Look Profiles Summary”.

16. Independent Monitor LUT
You can set Monitor LUT On/Off for SDI(Main)&Internal Rec, SDI(Sub)&HDMI, and Viewfinder independently.

17. Auto Iris
Auto Iris function is available when mounting Sony FZ Zoom lens SCL-Z18X140or PL lenses which are supporting Auto Iris function or B4 lenses which are supporting Auto Iris with LA-FZB1or LA-FZB2 FZ-B4 Lens mount adapter.

18. 100% Marker
100% Marker that indicates the effective picture frame is added.

19. Marker ON/OFF for each output
You can turn the marker On/Off for outputs such as VF and SDI/HDMI, independently.

20. Hi/Low Key function
Hi/Low Key function as assignable button that allows you to check clipped highlights and crushed blacks is added. This function works on MLUT ON outputs.

21. Black Gamma function
Black Gamma function that allows you to compensate gamma character of low luminance is added.

22. 2K/HD 59.94/50.0P RGB 3G-Dual output
When the system frequency is 59.94 or 50.0, an RGB 3G-Dual signals that conform to SMPTE ST424/425 Level-B can be output.

23. Clip metadata output from SDIs
File name information can be embedded from SDIs. Using external recorders and on-set color grading tools supporting clip metadata, they can read filename and record.

24. Additional Menu items for Wi-Fi remote control
You can control following Camera Menu items on the Setup Menu page of Tablet devices additionally. Bold items are additional on V3.0.

25. Focus and Zoom Control
Focus and Zoom control functions are supported from RM-B170 when mounting Sony FZ Zoom lens SCL-Z18X140 or B4 lenses which are supporting Auto Iris with LA-FZB1 or LA-FZB2, FZ-B4lens mount adapter.

26. Shockless gain
Shockless gain function is supported.

27. Additional functions for CA-4000
Focus Control and Auto Iris functions are supported when using CA-4000, Sony 4K Live System.

28. VF cable during power on
We guarantee plug-in and plug-out VF cable during power on.

29. Rec Tally of F55/F5 and R5
On RAW Recording, actual starting recording is delayed from lighting F55/F5 Rec tally. Make sure to check R5’s tally if RAW recoding is started or not. It is synced with RAW recording correctly. We will fix it in the future.

30. False Color on Cine-EI mode
In the case of attaching DVF-EL100 and DVF-L700 which has False color function and the case that V3.0 of F55 and F5 “SDI(Main)&Internal Rec MLUT” is Off on Cine-EI mode, False color function works even if any tone curve is selected. In previous version, False color works on S-Log2 selected. When you select other tone curve and use False Color in this version, please take care it. We will fix it in the future.

Colors
IRE Level
Red
105.4% and higher
Yellow
102.4 - 105.4%
Pink
41.3 - 45.3%
Green
30.3 - 34.3%
Blue
2.5 - 4.0%
Purple
0.0 - 2.5%


En conclusion

Que votre workflow soit Hypergamma, LOG ou RAW, ces deux caméras équilibrées permettent de répondre à un très grand nombre d'intentions artistiques et à tous les budgets, dans un marché 4K de plus en plus complet et compétitif.

On espère que les firmwares à venir corrigeront les désagréments:
- Comportement parfois étrange de l'affichage des menus
- délai parfois pénible entre la molette et le changement de menu
- Accès parfois laborieux aux modifications comme la cadence/HFR
- L'accès à certains fonctions est conditionné  à certains réglages comme la définition et/ou le codec: pourquoi ne pas proposer une validation de changements plutot que de griser la fonction, en attendant de trouver dans le labyrinthe des menus le réglage à modifier ?
- l'oscilloscope intégré n'est pas utilisable en l'état tellement il est petit
- les fausses couleurs n'apparaissent que sur les VF Sony et pas sur la sortie HD SDI


Points forts

Points faibles

Sensibilité

Lenteur de l'interface / Molette du menu (Lag)

Niveau de buit (Rapport S/N de très haute qualité)

Connecteur VF fragile

Compatibilité codec XAVC avec les softs de montage

 

Compatibilité du RAW Sony avec les softs d'étalonnage

 


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