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]]>By: SonyCine Team
LOS ANGELES, CA – July 13, 2022 – Through extensive feedback from industry professionals, Sony Electronics Inc. is pleased to announce a new software update (Version 2.00) for the FX3.
This new software introduces professional cinema line features into the camera, including additional Log shooting modes, user LUT (Lookup Table) importing, timecode sync with dedicated adaptor cableii, and advanced functionality that is consistent with the Cinema Line Camera workflow and enables ultimate creative freedom.
Award-winning documentary filmmaker Mark Bone gives an overview of the FX3 v2
FX3’s new Log shooting modes with LUT monitoring create a smoother post-production workflow by enabling Cine El, Cine El Quick, and Flexible ISO modes for recording with the S-Log3 gamma curve. Flexible ISO is a quick and easy mode that allows users to change the ISO to make exposure adjustments. Cine EI and Cine EI Quick are modes that use the camera’s base ISO of 800/12800. Both Cine EI and Cine EI Quick modes produce footage that can be adjusted in post-production to balance highlights and shadows while taking advantage of the wide latitude of S-Log3. All three modes allow video shooting while monitoring with an appropriate LUT to preview the final image.
Additionally, this update includes preset LUTs, like Sony’s s709 and maintains popular picture profiles such as S-Cinetone. For additional creative freedom, users can import their own LUTs. These imported LUTs can be used to not only preview a final image but can also be included into the footage when registered as a picture profile.
This latest software also features additional updates for advanced usability, including:
New list-style main menu screen which provides quick access to frequently used items
- Instant Function (Fn) menu display by swiping up on the screen
- New standby movie screen provides an unobstructed view of the subject
- Timecode sync and input with a dedicated adaptor cable
- AF (autofocus) assist function to smoothly switch between auto and manual focus
FX3 now includes added functionality to assist with the creative workflow, such as post-production editing using embedded LUT and EI (exposure) metadata. In addition, two types of shot marks have been added, allowing users to mark specific takes or scenes.
This new software introduces professional cinema line features into the camera, including additional Log shooting modes, user LUT (Lookup Table) importing, timecode sync with dedicated adaptor cableii, and advanced functionality that is consistent with the Cinema Line Camera workflow and enables ultimate creative freedom.
Award-winning documentary filmmaker Mark Bone gives an overview of the FX3 v2
FX3’s new Log shooting modes with LUT monitoring create a smoother post-production workflow by enabling Cine El, Cine El Quick, and Flexible ISO modes for recording with the S-Log3 gamma curve. Flexible ISO is a quick and easy mode that allows users to change the ISO to make exposure adjustments. Cine EI and Cine EI Quick are modes that use the camera’s base ISO of 800/12800. Both Cine EI and Cine EI Quick modes produce footage that can be adjusted in post-production to balance highlights and shadows while taking advantage of the wide latitude of S-Log3. All three modes allow video shooting while monitoring with an appropriate LUT to preview the final image.
Additionally, this update includes preset LUTs, like Sony’s s709 and maintains popular picture profiles such as S-Cinetone. For additional creative freedom, users can import their own LUTs. These imported LUTs can be used to not only preview a final image but can also be included into the footage when registered as a picture profile.
This latest software also features additional updates for advanced usability, including:
New list-style main menu screen which provides quick access to frequently used items
- Instant Function (Fn) menu display by swiping up on the screen
- New standby movie screen provides an unobstructed view of the subject
- Timecode sync and input with a dedicated adaptor cable
- AF (autofocus) assist function to smoothly switch between auto and manual focus
FX3 now includes added functionality to assist with the creative workflow, such as post-production editing using embedded LUT and EI (exposure) metadata. In addition, two types of shot marks have been added, allowing users to mark specific takes or scenes.
This metadata is available using the latest version of Sony’s Catalyst Prepareiii or Catalyst Browse applications. A new “Catalyst Prepare Plugin” for Adobe Premiere Pro is scheduled to be released in August.
Availability: now – find it below:
Notes:
iThe latest version 2022.1 of the Sony’s Catalyst Prepare* or Catalyst Browse applications is required. (*Software download page URL) https://www.sony.net/disoft/
iiTime code sync will need an exclusive adaptor cable, VMC-BNCM1. For further information, please check the support page: Support for ILME-FX3 | Sony USA
iiiSoftware download page URL: https://www.sony.net/disoft/
Managing user LUTS
Importing user LUT
User LUT imported
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]]>Sony FX6 overview
Join Sony Ambassador Alister Chapman as he takes an in-depth look into the Sony PXW-FX6 Full Frame camcorder. During this live masterclass Alister will highlight the key features of the camera and how they help you in the field.
Alister covers the following in this masterclass:
- Zebras, histogram and waveform.
- Difference between different shooting modes, SDR, HDR and CineEI.
- What S-Cinetone is and when to use it.
- Changing image look in SDR mode.
- Shooting S-Log3 in CineEI mode.
- Frame rates and S&Q motion
- and he answers a lot of questions from the audience.
Check out Alisters site XDCAM-USER for lots more info on Sony cameras and thanks to Visual Impact for making this available to everybody!
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Sony has released three new full-frame G lenses, the FE 50mm F2.5, FE 40mm F2.5, and FE 24mm F2.8. According to Sony, all three lenses deliver high image quality and beautiful bokeh in a lightweight and compact design, perfect for photographers and videographers alike who strive for standout shots and easy mobility. IMO these will be perfect for a lot of different situations, but especially something like street photography where most strive for compactness and simplicity. Here there are from 24 to 50mm left to right. Get them at 🛒 Adorama or 🛒 cvp.com
All three lenses are all the same size (68 x 45mm / 2.68 x 1.77inches) and accept 49mm filters. Their weights are also very similar at FE 50mm F2.5 G 174g / 6.1 oz, FE 40mm F2.5 G 173g/ 6.1 oz and FE 24mm F2.8 G 162g / 5.7 oz
These are great for videographers using a gimbal because they can swap between the three optics without needing to rebalance the gimbal. Also, the lenses all have internal focusing to the front element doesn’t rotate or move backward and forwards during focusing. Again this is useful for gimbal use, but also for anyone using a polarising filter or graduated filter.
Focusing distance
All three have very short focusing distance, which will enable a nice and blurry background and lovely bokeh.
The 50mm F2.5 has a minimum focus distance of 0.35m (AF) / 0.31m (MF) and a maximum magnification of up to 0.18x (AF) / 0.21x (MF), making it ideal for a range of subjects and shooting conditions.
The 40mm F2.5 has minimum focus distance of 0.28m (AF) / 0.25m (MF), and can get closer to subjects and offers a maximum magnification of 0.20x (AF) / 0.23x (MF).
The FE 24mm F2.8 G lets you move closer still with a minimum focus distance of 0.24m (AF) / 0.18m (MF). At this distance the magnification is 0.13x (AF) / 0.19x (MF).
Construction and operation
All three lenses have a focus hold button, focus mode switch, aperture ring, and an aperture click switch, making them suited for stills or video-shooting. Switchable click stops mean the aperture ring can be silenced for video shooting while the Linear Response manual focus ring is said to respond precisely, allowing subtle focus adjustments. Sony has used aluminum for the lens barrels to give a premium finish and extra durability. The lenses are also dust and moisture-resistant. Conveniently, the diameter of the filter threads on the hood and the lens barrel is the same at 49mm which means that they all accept the same lens hood and cap.
Price and availability
UK and Ireland – available in April this year and will retail for £630 / €700 each. USA and Canada – May for $600.00 USD / $800.00 CAD each.
Official Sony press release further down.
As always Sony has a video showing off the new lenses…
Press release
New 50mm, 40mm, and 24mm introductions combine Incredible Image quality and Intuitive Operability
Sony today announced three outstanding G Lenses™ to its impressive E-mount line-up – the FE 50mm F2.5 G (model SEL50F25G), FE 40mm F2.5 G (model SEL40F25G) and FE 24mm F2.8 G (model SEL24F28G). All three lenses deliver high image quality and beautiful bokeh in a lightweight and compact design, perfect for photographers and videographers alike who strive for standout shots and easy mobility.
When paired with a Sony full-frame camera or APS-C, all three lenses boast high resolution, intuitive operability and fast, precise and quiet autofocus capabilities. The lenses have been introduced as the perfect set for photo and video for a wide range of uses including snap shooting, portraiture and landscape shots.
“At Sony, we are constantly innovating to produce the tools that creators need to capture the beauty of this world” said Yann Salmon Legagneur, Director of Product Marketing, Digital Imaging, Sony Europe. “With superb resolution and mesmerizing bokeh, all housed in a compact and sophisticated design, the FE 50mm F2.5 G, FE 40mm F2.5 G and FE 24mm F2.8 G enable users to experience the joy of owning lenses that capture different perspectives of the same scene”.
These three prime lenses each deliver a focal length for any shoot with the 50mm best for portraits, the 40mm optimal for still or movie snap shooting, and the 24mm ideal for landscapes. With their intuitive operability and superb build quality, they are a fantastic set of three.
What’s more, the three lenses are all the same size (68mm diameter x 45mm), all have the same filter diameter (49mm) and are almost all the same weight (FE 50mm F2.5 G 174g, FE 40mm F2.5 G173g and FE 24mm F2.8 G162g) and internal focus so lens interchange is easy – even when using a gimbal. They feature the same stylish exterior design, but focal lengths are clearly marked for quick switches.
High resolution in a compact design
The FE 50mm F2.5 G,FE 40mm F2.5 G and FE 24mm F2.8 G deliver the high image quality of a G Lens, whilst being compact and lightweight. The image quality is achieved by state-of-the-art optics using aspherical elements and ED (Extra-low Dispersion) glass elements[i], delivering high resolution and suppressing color fringing. The aspherical elements ensure high resolution performance in every corner of the image, even from the widest aperture with shallow depth of field. Enjoy shooting in high resolution using a compact design.
The stunning bokeh of the G lens is achieved with the optimization of a circular aperture and is delivered at the widest point of each lens (F2.5 at 50mm, F2.5 at 40mm, and the F2.8 at 24mm).
All three lenses were carefully designed for optimum mobility and are compact and lightweight enough to suit any location. Whether shooting with a full-frame or APS-C body for portraiture, landscape, snapshots or movies with a gimbal and more, the size and weight are balanced perfectly. Experience the benefits of interchanging lenses to suit any scene or subject.
Focus distances
As well as the 50mm angle of view is perfect for portraits and snap shooting stills or movies, the FE 50mm F2.5 G has a minimum focus distance of 0.35m (AF) / 0.31m (MF) and a maximum magnification of 0.18x (AF) / 0.21x (MF), meaning it’s ideal for a variety of scenes and objects.
The FE 40mm F2.5 G 40mm angle of view is ideal for snap shooting stills or movies with a minimum focus distance of 0.28m (AF) / 0.25m (MF) and maximum magnification of 0.20x (AF) / 0.23x (MF). Particularly for movie shooting, 40mm is the preferred angle of view as it corresponds to the natural field of vision and for stills, 40mm allows subjects to stand out against backgrounds.
With a wide 24mm angle of view, the FE 24mm F2.8 Glens is perfect in situations where the background is included, such as gimbal or selfie shooting with a grip attached. And with a minimum focus distance of 0.24m (AF) / 0.18m (MF) and maximum magnification of 0.13x (AF) / 0.19x (MF), you can also shoot close-ups with a blurred background.
High operability and reliability
Despite their compact size, the lenses feature a focus hold button, focus mode switch, aperture ring, and Aperture click switch for ideal operability. The focus hold button is customizable from the camera menu and can be assigned a function that the user prefers. The aperture ring provides a more intuitive and direct feel, compared to operating the aperture from the camera body when shooting either stills or movies. The aperture also provides switchable click stops that can be turned off for movie shooting using the aperture click switch. Furthermore, with Linear Response MF, the focus ring responds precisely and linearly when focusing manually so control feels immediate and intuitive, directly reflecting the intent of the photographer and allowing delicate focus adjustments.
The aluminum exterior and engraved Sony logo ensure a premium, sophisticated finish as well as increased strength and durability. Conveniently, the diameter of the filter threads on the hood and the lens barrel are equal[ii] (49mm), allowing the same cap and filter to be attached to both the hood and the lens barrel. The lenses are also designed to be dust and moisture-resistant [iii] to ensure usability in any outdoor environment.
Fast, precise, and quiet autofocus
The FE 50mm F2.5 G,FE 40mm F2.5 G and FE 24mm F2.8 G feature two linear motors to deliver fast, precise autofocus (AF) with excellent tracking performance which is maintained despite instantaneous changes in subject motion – making the lens ideal snapping moving subjects. The AF is also quiet, so works for both still and movie shooting.
Pricing and availability
The FE 50mm F2.5 G, FE 40mm F2.5 G and FE 24mm F2.8 G lenses will be available in April 2021 at a variety of Sony’s authorized dealers, for an estimated retail price of €700 each.
For detailed product information on the three lenses, please visit:
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What is the Sony FX3?
When I first saw the leaked images of the Sony FX3 I thought; this is for gimbals and the coming Sony Airpeak drone (article here) and I still think I’m right. The FX3 is basically a7SIII in a new EVF-less body. It only has a flip screen. 4K/120P, XAVC SI 4:2:2 10bit S-Log3, and HDR video, 16-bit RAW HDMI output, and S-Cinetone. Full specs below.
The official Sony release video:
The new FX3 comes with a handle. The handle looks a lot like the K3M function-wise. In addition to the camera’s built-in microphone, you can use your choice of shotgun microphones which are connected externally via the full-size XLR connectors on the handle through a digital audio interface via Multi-Interface (MI) Shoe. Three recording formats can be selected, including 24-bit 4-channel. The handle also has several 1/4-20 UNC mounting points just like the camera.
It also has a new heat dissipation system according to Sony. Heatsink placement, airflow structure, and a silent cooling fan work to optimize cooling even during long shoots. Check out the video from CineD’s Johnnie Behiri here: https://www.youtube.com/watch?v=B7jPZZKmLMA – he’s had the camera for a while and shot with it.
Full specs
- 10.2 megapixel[i] full-frame back-illuminated CMOS Exmor R™ sensor and BIONZ XR™ image processing engine
- Ultra-high sensitivity with ISO expandable to 409,600 for very low light conditions and 15+ stops of dynamic range[ii]
- S-Cinetone™ look profile which is inspired by the digital cinema camera VENICE’s color science, also used in FX9 and FX6 Cinema Line cameras, and records up to 4K 120p[iii]
- Compact and lightweight body design with high operability for hand-held shooting, gimbal, and drone-mounted work
- Multi-thread (1/4-20 UNC) body makes it easy to mount accessories
- Detachable XLR handle unit with two of XLR/TRS audio input
- “Active Mode” image stabilization [iv] supports handheld movie shooting
- Fast Hybrid Auto Focus, Touch Tracking (real-time tracking), and Real-time Eye AF, also used in other Alpha™ cameras
- Uninterrupted 4K 60p recording (Continued)[v] by Effective heat dissipation and built-in cooling fan
Full presentation over on the Sony website: https://www.sony.co.uk/electronics/interchangeable-lens-cameras/ilme-fx3
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]]>The post Atomos adds ProRes RAW to Ninja V 5″ recorder appeared first on filmplusgear.
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This post is a work in progress… will add more PreRes RAW sample files as I shot more.
➡️ Support Filmplusgear by buying the Atomos Ninja V here – at no extra cost for you 🛒 Ninja V @ Amazon 🛒 Ninja V @ Thomann 🛒 Atom X SDI @ Amazon 🛒 Atom X SSD @ Amazon 🛒 Atom X SSD @ Thomann 🛒 Atomos Ninja V and acc. @ cvp.com
Finally we can shoot ProRes RAW with the Sony FX6 and Atomos Ninja V
►Downloadable sample files further down on this page…
I bought the Atomos Ninja V as soon as it came out. I also bought the Atom X SDI module as soon as it came out. Wanted to use it on my Sony FS5, but it was mostly left in the drawer since it only supported 8-bit video output. But about a week ago Atomos announced the ProRes RAW addition to the Ninja V from Sony FX6. Cable wise I went with the 0.5m 12G SDI cable from Alvins Cables, which is nice and soft.
The FX6 and Atomos Ninja V are perfect companions and the perfect bundle. The 5,2″ screen is large enough to monitor your shot. And the 99 USD activation key is well worth it and you can get it from Atomos here.
Record 16-bit linear RAW
With the Ninja 5 you can capture the 16-bit RAW in a visually lossless 12-bit log Apple ProRes RAW format and make maximum use of Sony’s FX6 4K image sensor, using a single BNC cable to the camera’s 12G-SDI port. I capture to a Angelbird Atom X SSD disk, which fits the Ninja V perfectly. I will upload some of my ProRes RAW files for you to download and play with. Find them below.
ProRes RAW sample files
Below you’ll find my totally non scientific ProRes RAW clips shot with the FX6. (more on the way)
➡️ If you want to play with the file yourself, you can download them from this blog post. If you play with them and upload it somewhere ➡️ please credit Claus Andersen @ Filmplusgear for the footage and let me know where I can see what you got out of it. Thanks! You can also visit my Sony FX6 section here.
Shot on FX6, Atomos Ninja V, Atomos SDI X module with Atom X 1TB SSD and Tamron 70-180mm F2.8 on a Sirui RX tripod.
ProRes RAW HQ 25fps, Cine EI, shutter 180.0 deg, ISO 800, WB 5600 K. – Approx. 2GB file.
Shot on FX6, Atomos Ninja V, Atomos SDI X module with Atom X 1TB SSD and an old Carl Zeiss Jena Flektogon 35mm f2.8 lens. Handheld. ProRes RAW HQ 25fps, Cine EI, shutter 180.0 deg, ISO 800, WB 5600 K. – Approx. 1.4GB file.
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Sony has announced the addition of S-Cinetone to the A7SIII in an e-mail this morning. IMO it’s because of the eminent launch of the Sony FX3 which apparently includes the S-Cinetone profile. I personally love the addition, because I can now match my A7SIII and FX6, both in normal shooting but also in livestreaming. Lovely!
ready in “a few days” – Update thursday feb. 18 evening:
I was just told the firmware update will be ready in a few days after a little confusion. The update will be downloadable on the button below:
From the sony announcement:
A new system software update for Sony Interchangeable Lens Camera: ILCE-7SM3 (Ver2.00) is now available.
The main contents are:
S-Cinetone picture profile preset and Active steady shot during recording movie with S&Q Frame Rate
CONTENTS OF UPDATE
Adds the PP11：S-Cinetone picture profile preset
Adds support for setting Steady Shot to Active during recording movie with S&Q Frame Rate
*[Active] cannot be selected if [S&Q Frame Rate] is set to [120fps]/[100fps] or higher.
Improves the overall stability of the camera
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Monitoring your recording with a LUT
I like to monitor my recordings with a LUT when shooting Cine EI. That is possible on the FX6 with up to 16 different LUTs imported from your SD card. How do you do that. Follow the guide below and be up and running in minutes…
Howto use a LUT on your FX6 monitor/viewfinder:
- Put a card in slot B on your FX6 and format it using the menu. User > Format Media > Media (B)
It needs to be slot B. Don’t know why Sony made it so, but they did. The formating creates a folder structure which includes a LUT folder. - Put the formated card in a memory reader and browse to the LUT folder: PRIVATE > SONY > PRO > LUT
- Put your selected LUTs in the folder. They need to be in .cube format.
- Put the card back in slot B in your FX6.
- Now go into User > Paint/Look > Base Look > Import > now either change an existing LUT or god down to the first available slot (No LUT).
- Select the desired LUT and select OK.
- Now you can select the new LUT on quick menu page 1/10 or 5/10. On page 5/10 make shure MLUT is turned on under “stream” and NOT under SDI/HDMI, unless of course you want to bake the lut in…
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]]>The post Phantom LUTs for Sony FX6 and A7SIII – updated appeared first on filmplusgear.
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If you haven’t tried them, please do. They really are great.
Joel says… “Hey guys,
I’ve finished the Fx6 LUTs and I decided to include them as a package deal with the A7s3 LUTs as the images between the A7s3 and Fx6 were quite similar given that they share either the same sensor or similar sensors.
So if you own an Fx6 you will be able to download the new Fx6 LUTs for free by clicking on the link above.
The major differences I noticed between the A7s3 and Fx6 was that the Fx6 sensor really pushed skin tones and reds heavily towards pink and magenta compared to the A7s3 and also the overall saturation was slightly higher with the Fx6 image.
There were a handful of other disparities but essentially I neutralized all of them with the Fx6 LUTs so that the A7s3 and Fx6 should match closely when paired with their respective LUTs.
No updates for the A7s3 LUTs – they’re still on G3 (Generation 3)
Enjoy!”
Wanna see them in action?
Here is a little taste of the LUTs shot with different cameras:
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Smallrig FX6 top plates are here!
Finally there is an update to the Smallrig top plates for the Sony FX6. They have just been released and Smallrig is sending us a sample to test them out.
SmallRig Sony FX6 Top Plate 3186 screws on to your Sony FX6 via four 1/4”-20 screws. Multiple 1/4”-20 threaded holes (20 if I count right) and two ARRI 3/8″ -16 locating holes support various accessories, like SmallRig Magic Arm 2115 or 2116.
The top plates are compatible with the original handle, cable clamp and focus knob. It comes with one standard LCD adapter slot on the top, available for attaching LCD mount and SmallRig LCD Screen Mounting Clamp Adapter 1831. Its threaded holes on the side fit SmallRig Top Handle 1638, providing two-handed solution and allowing overhead shot.
Unlike the Smallrig FS5 plates which I have mounted on my FX6 now, the new plates leave the rear top mounting holes accessible. I think I will miss the vertical plate there on the side…
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Post in progress – I will add to this post as I go along and test more cards!
Which cards work with Sony FX6?
Memory cards are important. Good memory cards are crucial. It can be very critical if your memory cards let you down and you loose footage, not to mention expensive. New shoot, hiring actors again, having to tell the client you did’nt get the shot. Uh, that gives me a stomache ache.
Being in several Sony FX6 groups gives people access to a lot of knowledge. When reading the groups it’s clear to me that there are a few cards being mentioned over and over again. One of these is the ProGrade V90 card. I have purchased one for testing to see what the fuss is all about. Never used a ProGrade card before. I have also ordered the Delkin Devices V90 and a Transcend V90.
What I have used with the FX6 is the Lexar 128GB 2000x V90 and the Kingston 256GB V90. I have spent several hours doing all sorts of different codecs and framerates with those cards and have found no limitations, except 4k 120fps.
The above tested cards from Lexar and Kingston will only do 4K 3840×2160 in 120fps. Not DCI 4096×2160. Am waiting for the ProGrade, Delkin and Transcend to see if they will do 4K/120 in DCI. The same goes for the Zitay CFexpress Type A to SSD adapter I have tested mentioned in this blog post.
Stay tuned for more on the incoming cards…
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