Quick Reference Guide PXW-FS7 PXW-FS7M2 sony.net/pro/PXW-FS7 sony.
Contents 2 A. Introduction to this guide 03 B. Saving the camera setup 04 C. Choosing the right operating mode 06 D. Preparing the camera and shooting 11 E. Advanced picture settings for Custom Mode 38 F. Detailed guide to the Cine EI Mode 51 G. Slow motion, time-lapse and picture cache 65 H. Audio recording 75 I.
A. Introduction to this guide A1. Introduction This guide does not replace the user manual. It is intended to be used in conjunction with the user manual and it is recommended that you read both this guide and the user manual to get the very best from the camera. Where you see text in bold it indicates a menu setting, button or switch setting. For example: (MENU: System – Base Setting – Shooting Mode) Indicates: refer to the camera menu, System page, Base Setting page, Shooting mode sub page.
B. Saving the camera setup B1. All files All files are a great way of quickly changing shooting modes and saving your favorite settings. Once you have the camera setup in a way you are happy with I recommend saving those settings as an All File. See the section on all files for more information. All Files: All Files can be used to save a snapshot of the way the camera is set up or to load a specific set of camera settings.
B. Saving the camera setup (MENU: File – All File – File ID) Set the file name and select Done when finished. Then save the file: (MENU: File – All File – Save SD Card) Choose an empty “No File” location to save the file in an unused location or overwrite a previously saved all file with the new file. To recall an All File: (MENU: File – All File – Load SD Card) Choose the desired All File from the list and press SEL/SET to load. The camera may reboot during the loading process.
C. Choosing the right operating mode C1. Understanding the different operating modes Custom Mode and Cine El Mode: The PXW-FS7 has two distinctly different operating modes which are called “Custom” and “Cine EI”. The camera will create high quality images at all available frame rates and resolutions in both modes.
C. Choosing the right operating mode In the Cine EI mode the camera operates using optimized settings that allow it to capture the widest possible dynamic range and color range. This wide range image will look flat and washed out if viewed directly. But it contains a huge amount of picture information that can be manipulated and adjusted on a computer in post production to achieve the desired final look.
C. Choosing the right operating mode C1.1 More information on custom mode In this mode you have the ability to change many of the cameras image quality settings including gamma (contrast and brightness range), the matrix (color) and sharpness if you wish to alter the look of the recorded images.
C. Choosing the right operating mode Custom mode would normally be used for projects that have little or no time for post production grading or adjustment. Where a fast turn-around is important or a simple, straight forward workflow is desired. Although the image quality in custom mode can be very high, it is normally possible for experienced users to get better quality images and greater post production flexibility by using the Cine EI mode. C1.
C. Choosing the right operating mode To help with exposure and to help gauge what the material will look like after grading the camera can apply a Monitor Look Up Table (MLUT or LUT) to the viewfinder or monitor outputs. The MLUT converts the image from the flat looking S-Log2/3 range to a conventional viewing range. Different MLUT’s can be used to give different monitoring ranges and different looks. You can even load user created MLUT’s in to the camera. The MLUT isn’t normally recorded.
D. Preparing the camera and shooting Section Index 1. Preparing to shoot 12 2. The shutter and shutter speed 17 3. Setting the gain or ISO 20 4. White Balance in Custom Mode 23 5. White Balance in Cine EI mode 24 6. Exposure, Waveform and Histogram 25 7. Aperture/Iris control 30 8. The ND filter System 31 9.
D. Preparing the camera and shooting D1. Preparing to shoot After switching the camera on you may see a message saying “Execute APR”. This is not an error or malfunction. The APR function minimizes the appearance of bright or dark sensor pixels and minimizes sensor noise. Cover/cap the lens and press SEL/SET to execute the APR function. If you do not perform APR you will be reminded to perform APR the next time the camera is turned on.
D. Preparing the camera and shooting D1.1 Start by setting the country area. The country area setting determines which frame rates are available. Choose PAL Area to enable 50i/50p/25p, choose NTSC Area for 60i/60p/30p//23.98p/24p. D1.2 Next choose the recording codec. (MENU: System – Codec - Select). The options available will depend on the whether you have the extension unit installed on the camera or not. Recommendation: Use the XAVC-I codec.
D. Preparing the camera and shooting MPEG HD 422: HD only, the same as the XDCAM 422 codec, 8 bit, 422 at 50Mb/s. Good for news, quick turnaround, small file size. Not best for heavy post production work or grading, Not recommended for use with S-Log2/3. XAVC-I: HD/UHD/4K DCI. XAVC-I is always 10 bit 422. XAVC-I is normally the easiest version of XAVC to edit, requiring the least processing power. XAVC-I is the best choice for working with S-Log2/3.
D. Preparing the camera and shooting ProRes (with XDCA-FS7 only): HD only. ProRes is a widely adapted codec originally developed by Apple for use in post production but now finding use as an acquisition codec. ProRes 422 HQ offers slightly higher quality than ProRes 422. Raw (with XDCA-FS7 only): High quality external recording option that allow the recording of raw sensor data on a compatible external recorder.
D. Preparing the camera and shooting D1.3 Now select the frame size/recording format and frame rate. The (MENU: System – Rec Format – Video Format) page is where you set the frame size and frame rate that will be the cameras base rate. The options available will depend on the country area and codec choice. 1920x1080 = HD, 3840x2160 = UHD (the standard frame size for consumer 4K television), 4096x2160 = 4K DCI (the standard for 4K digital cinema).
D. Preparing the camera and shooting D2. Shutter Speed or Shutter Angle It is recommended that to avoid issues with flicker from some types of light fixtures that the shutter speed is set to a multiple of the local mains electricity frequency. Please check the mains frequency of the country you are shooting in to determine the most appropriate shutter speed. In a 50Hz country 1/50 or 1/100 is recommended. In a 60Hz country 1/60 or 1/120 is recommended. D2.
D. Preparing the camera and shooting Shutter speed is the easiest to understand and is similar to how the shutter period would be expressed in a stills camera. With Shutter Speed the shutter timing remains fixed at the speed set even if you change the recording frame rate (unless the shooting frame rate is increased beyond the set shutter speed, in which case the shutter speed will become set to the slowest possible speed for the shooting rate chosen).
D. Preparing the camera and shooting D2.2 To change the shutter period indication between Speed and Degrees go to (MENU: Camera – Shutter – Mode). To change the shutter speed: Press the Shutter button on the side of the camera body and use the scroll wheel to choose your desired shutter speed or angle. Then press the sel/set button to set the shutter speed. Do not press the shutter button again you wish to set the shutter speed control to automatic.
D. Preparing the camera and shooting D3. Setting the Gain or ISO (Custom Mode) The signal that comes from the cameras sensor can be made brighter by adding additional amplification by increasing the gain of the cameras image processors. This may be useful when shooting in low light situations. However it should be noted that when you increase the camera’s gain, as well as making the desirable image brighter you will also increase the noise seen in the image.
D. Preparing the camera and shooting ISO can be a little more confusing. ISO is used to determine the correct exposure for a camera when using an external light meter. As different gamma curves require slightly different exposure levels the optimum ISO (native sensitivity) will vary depending on the gamma curve used.
D. Preparing the camera and shooting D3.2 To select the use of gain or ISO (MENU: Camera – ISO/Gain/EI – Mode). Manual gain control is then done via the gain switch on the side of the camera body the gain or ISO level assigned to each of the 3 switch positions can be set in: (MENU: Camera – ISO/Gain/EI – ISO/Gain) etc. To enable/disable automatic gain control press the Gain button on the camera body. If using the Cine EI mode please see the section on “Exposure Index”.
D. Preparing the camera and shooting D4. White Balance (Custom Mode) Setting the white balance correctly ensures that white objects in the scene appear white and that the overall color response of the camera is true to life. There are several ways of setting the white balance. Pressing the white balance button on the camera will toggle between automatic white balance (ATW) and the white balance function selected by the white balance switch.
D. Preparing the camera and shooting D4.1 Preset The white balance can be fixed to a set value. When the white balance switch is set to PRESET the preset value is used. To change the preset value go (MENU: Paint – Preset White) and select the desired color temperature. D4.2 Memory Mode A and B There are two memories in the camera that will remember the white value for a white target.
D. Preparing the camera and shooting D6. Exposure, Zebras, Waveform and Histogram Exposure is controlled through a combination of shutter speed, gain/ISO, iris aperture and ND filter. The camera includes a number of tools for measuring exposure. D6.1 Zebras Zebras are commonly used to measure the brightness of either skin tones or highlights. Zebra 1 is designed to be used for skin tones. (MENU: VF – Zebra).
D. Preparing the camera and shooting In (MENU: VF – Zebra - Select) you can choose whether to show zebra 1, zebra 2 or both in the viewfinder. The zebras can be turned on and off via the push button on the side of the viewfinder or with (MENU: VF – Zebra – Setting). In Cine EI when a MLUT is enabled for the Viewfinder the zebras measure the exposure levels of the MLUT as seen on the viewfinders LCD screen, not the S-Log2 or S-Log3 recording level.
D. Preparing the camera and shooting D6.2 Waveform Vectorscope and Histogram These are selected via (MENU: VF – Video Signal Monitor). Waveform: The waveform display measures the brightness of the recorded image and displays the brightness levels on a vertical scale that goes from 0% or black at the lower dotted line at the bottom to 109% (clipping point) at the top. There are additional dotted reference lines at 25, 50 75 and 100%.
D. Preparing the camera and shooting Vector: This is a vectorscope which is used to measure the color levels and color hue of what is being shot. In most cases it is not necessary to use the vectorscope. Histogram: The histogram displays the exposure brightness on a horizontal scale where black is at the left and 109% (clipping point) is on the right. The vertical height of the indicated level represents the amount of the image that is exposed at that brightness.
D. Preparing the camera and shooting The histogram Video Signal Monitor Source: When shooting in the Cine EI mode it is possible to select whether the video signal monitor displays the levels of the recorded signal or the level of any LUT being used. Please refer to the Cine EI section of this guide to better understand which to use. The selected source signal is indicated just above the signal monitor. (MENU: VF – Video Signal Monitor – Source).
D. Preparing the camera and shooting D7. Aperture/Iris D7.1 In Custom Mode the iris of an electronically controlled lens can be controlled automatically or manually. In the Cine EI mode only manual operation is possible. In Custom mode pressing assignable button 2 (iris) toggles between manual and automatic control. When manual control is selected the Iris Push Auto button can be used to momentarily set the iris automatically.
D. Preparing the camera and shooting D7.3 For a shallow depth of field, film-like look you should use a large aperture (f1.4 – f5.6). To avoid softening of the image due to diffraction effects you should avoid using very small apertures (f16, f22 etc). Most lenses provide the best performance in the middle of their aperture range. Use the cameras built in ND filters to maintain your desired aperture when there are high light levels.
D. Preparing the camera and shooting D8.1 PXW-FS7 II and the variable ND filter The PXW-FS7 II has an advanced variable ND filter system. When the filter dial is in the clear position there is no additional filtration in the optical path. When you select ND filter dial position 1, 2 or 3 the variable ND filter system is inserted into the optical path.
D. Preparing the camera and shooting D8.2 The Variable ND filter can also be made to operate automatically by engaging filter position 2, 3 or 4 and then pressing an assignable button that has been assigned the auto ND function. I suggest assigning Auto ND to button 7. (MENU: System –Assignable Button). D9. Focus, Peaking, Focus Indicator and Focus Magnification D9.1 When fitted with a suitable auto focus capable E-Mount lens the camera can be set to Auto focus using the Focus Auto/Manual switch.
D. Preparing the camera and shooting D9.2 The focus detection area of the auto focus system and the one push auto focus can be altered. If you chose the flexible spot function you can use the hand grip joystick or scroll wheel to move the focus detection area to any part of the frame. (MENU: Camera – Focus) The focus detection area (yellow box) can be moved by selecting “flexible spot” in the Camera – Focus menu. To assist with obtaining the best possible focus there are a number of focus aids.
D. Preparing the camera and shooting D9.3 Peaking The cameras peaking function can be turned on and off via the peaking button on the side of the viewfinder LCD screen. The peaking settings can be changed in (MENU: - VF – Peaking). Often colored peaking is easier to see than normal balck and white peaking so consider setting the peaking type to color. Avoid using an excessively high peaking level.
D. Preparing the camera and shooting D9.4 Focus Indicator The focus indicator appears as a bar graph across the lower middle of the viewfinder screen with a white box above (Focus Area Indicator). The bar graph measures the sharpness of the image within the box. When the graph is all the way to the left the image is soft. When it is to the right it is sharp. Best focus is when the indicator peaks as far to the right as you can get it, typically about 75% of the full scale.
D. Preparing the camera and shooting D9.5 Focus Magnification The Focus Magnification Function allows you to magnify the image seen in the viewfinder to closer inspect the focus. Pressing assignable button 4 on the hand grip magnifies the image by 4x, pressing a second time by 8x and the third press returns the image to normal. Focus Magnification has no effect on the recordings or HDMI or SDI outputs so can be used at any time.
E. Advanced picture settings for Custom Mode Section Index 1. Gamma and color settings in Custom Mode 39 2. Gamma categories (custom mode) 41 3.
E. Advanced picture settings for Custom Mode E1. Gamma and Color Settings In Custom Mode In Custom Mode you have the ability to change many of the cameras image quality settings including the Gamma Curve and Color Matrix. The gamma curve of the camera can be changed to alter the contrast and dynamic range of the captured image (MENU: Paint – Gamma). Using different gamma curves can dramatically alter the look of the recorded image. There is no requirement to use any specific gamma curve.
E. Advanced picture settings for Custom Mode E1.1 Suggested gamma settings For shoots that take place under controlled lighting then the standard default gamma curve (STD5 R709) provides pleasing images with accurate contrast. For challenging lighting situations the Hypergamma gamma curves (HG) are very useful. If you are producing material that will be used directly within a broadcast TV show then HG1 is a good all round curve that is broadcast safe (does not exceed 100%).
E. Advanced picture settings for Custom Mode E2. Gamma Categories The PXW-FS7 Gammas are split in to 3 categories: STD/ HG/S-Log (MENU: Paint – Gamma – Gamma Category). E2.1 STD Standard Gamma. The gamma curves available under this category are all variations on standard television gamma. These curves will all provide realistic and true to life contrast when viewed on a conventional TV or monitor. However to comply with current television standards these curves have a limited dynamic range.
E. Advanced picture settings for Custom Mode STD-R709 Gamma Curve E2.2 HG Hypergamma. These advanced gamma curves are designed to capture a wider dynamic range than the standard gammas with only a small reduction in on screen contrast (normally the higher the cameras capture dynamic range the lower the on screen contrast will be). This is achieved through careful addition of a gradual highlight roll off.
E. Advanced picture settings for Custom Mode The capture range and optimum exposure levels are indicated in the full name of the hypergamma curve, for example: HG4609G40 = HG – 460 – 9 – G40, which indicates HG(Hypergamma), with an over exposure range 460% greater than standard TV gamma. Recording to 109% (the other option being a “0” which indicates recording to 100%). G40 being the optimum exposure for a 18% middle grey card of 40%.
E. Advanced picture settings for Custom Mode Hypergamma 1 Hypergamma 2 Hypergamma 3 Hypergamma 4 I find that Hypergamma 4 works very well for brighter outdoor scenes while Hypergamma 3 works well for indoor scenes. Hypergammas 7 and 8 are also very good for challenging lighting situations. E2.3 User It is possible for advanced users to upload their own gamma curves to the camera.
E. Advanced picture settings for Custom Mode E2.4 S-Log2 You can use the S-log2 gamma curve in Custom Mode to capture an extremely large scene brightness range (14 stops or 1300%). This will result in a very flat on screen image. The PXW-FS7 is primarily designed to use S-Log recording in the Cine EI mode but the option is also offered in Custom Mode to help deal with particularly difficult lighting situations.
E. Advanced picture settings for Custom Mode E3. Custom Mode Matrix Settings (Color adjustment) The camera’s color reproduction can be adjusted by making changes to the matrix settings. (MENU: Paint – Matrix) There are 5 preset matrix settings designed to give easy access to a number of different color responses. E3.1 Recommended settings The standard color matrix works well for general purpose acquisition.
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E. Advanced picture settings for Custom Mode Combining a Hypergamma with the Cinema Matrix produces images that are more film-like than the standard settings. In this example Hypergamma HG3 is combined with the Cinema gamma. E3.2 PXW-FS7 II and the Rec2020 Matrix The FS7 includes an additional matrix that complies with the new Rec2020 color standard. This standard allows for the capture and display of a wider range of colors than possible with Rec-709.
E. Advanced picture settings for Custom Mode E3.3 The High Saturation matrix can be used to provide vibrant colors for music or pop videos, but it must be noted that in some cases strong colors in the scene you are shooting will reach the maximum recording intensity more quickly.
E. Advanced picture settings for Custom Mode The F55 709 Like matrix is designed to mimic the color response of the Sony F55 camera. It provides vibrant colors. This matrix can be used when trying to match the pictures from an FS7 to a PMW-F55 that is shooting Rec-709.
F. Detailed guide to the Cine El Mode F1. Using the Cine El Mode The Cine EI mode is quite different to custom mode and the way a conventional video camera works. In most cases when used correctly the Cine EI mode will result in superior images to custom mode. When using the Cine EI mode first you must choose the Color Space and log curve that you wish to use. Recommendation: For most applications S-Gamut3.cine/ Slog3 works very well. (MENU: System – Base Settings – Color Space).
F. Detailed guide to the Cine El Mode F1.1 Colorspace and S-Log2/S-Log3 In the Cine EI mode you have the ability to select one of 3 different color spaces and two different S-Log curves. S-Gamut: The original Sony wide range color gamut. Allows a wider than normal color range to be recorded giving greater post production flexibility. Works in conjunction with S-log2.
F. Detailed guide to the Cine El Mode S-Log2: Sony’s second generation 14 stop log gamma curve. Excellent dynamic range, using the cameras full recording range. Can sometimes be tricky to grade well without the use of LUT’s. This is the same curve as used in Sony A7s. S-Log3: 3rd generation 14 stop log curve very similar to the “Cineon” standard used for digital film prints. Also very similar to Arri’s LogC. Easy to grade (especially when used with S-Gamut3.cine).
F. Detailed guide to the Cine El Mode F1.2 Exposing via an MLUT, suggested settings Recommendation: Enable MLUT’s for SDI2, HDMI and Viewfinder. Ensure that the MLUT is OFF for SDI1 & Internal Rec. (MENU: Video – Monitor LUT). Recommendation: Use LUT Category – LUT, LUT Select – P1:709(800). (MENU: Video – Monitor LUT). Recommendation: Set the Exposure Index switch settings as follows: (MENU: Camera – ISO/Gain/EI). Exposure Index 2000, Exposure Index 800, Exposure Index 640.
F. Detailed guide to the Cine El Mode MLUT operation is limited to ON or OFF for all outputs and internal recording in each of the following situations: The HDMI output is set to 4K/UHD. S&Q Motion is enabled.
F. Detailed guide to the Cine El Mode F1.3 The Video Signal Monitor can be used to measure either the MLUT level or the Internal Recording level. I recommend measuring and monitoring the MLUT level for the correct operation of the Cine EI mode (MENU: VF – Video Signal Monitor – Source – SDI2) Note that if the SDI output is disabled, selecting the source as SDI2 will still allow you to monitor the MLUT levels as seen in the viewfinder.
F. Detailed guide to the Cine El Mode F1.4 In the Cine EI mode the way you expose your footage is different to custom mode. In order to obtain the cameras full dynamic range the camera must record at it’s native ISO of 2000. In addition the exposure levels used by log gamma curves are different to conventional gammas and the log image will look flat and washed out when viewed on a conventional monitor.
F. Detailed guide to the Cine El Mode F1.5 One issue with most LUT’s is that the LUT cannot show you your full recording range. There is however a simple way to check the full range of the recordings by using a function called “High/Low Key”. Before you can use this function you must first assign it to one of the cameras assignable buttons. I suggest assigning it to button <2> the “Iris” button as this button has no effect in the Cine EI mode.
F. Detailed guide to the Cine El Mode The viewfinder image with 709(800) MLUT applied. Looking at this image you may be concerned that the brightest highlights will be recorded too bright. Using the Hi Low Key function you can check the highlight and shadow areas of the image recorded image. After the first press of the Hi Low Key assigned button the MLUT is darkened to allow you to check for clipping in the brighter parts of the image.
F. Detailed guide to the Cine El Mode F1.6 Changing the exposure index (EI) Changing the exposure index (by using the L/M/H switch) changes the brightness of the LUT/MLUT. It has no direct effect on the recordings, the camera continues to record at it’s native 2000ISO. However when you decrease the EI, for example selecting an EI of 800 (the default L setting) the images seen via the LUT become darker, the equivalent of changing the LUT’s ISO to 800.
F. Detailed guide to the Cine El Mode This is the 709(800) MLUT viewfinder image after switching the EI from 2000 EI to 640 EI with no change to the aperture or shutter speed. To compensate for this dark image on the monitor or in the viewfinder you should open the aperture to compensate. By opening the aperture the brightness of the MLUT is restored to a normal level. Opening the aperture to compensate for a dark MLUT results is brighter S-Log recording.
F. Detailed guide to the Cine El Mode As the cameras actual recording ISO has not changed opening the aperture results in a brighter recorded image. With conventional gammas this would be a problem but with S-Log2/3 there is typically enough headroom in reserve to cope with this deliberate over exposure. Don’t forget, if you are concerned about highlight clipping you can use the High/Low Key function to check for this.
F. Detailed guide to the Cine El Mode The cameras total dynamic range does not change when you adjust the EI. What you are doing is altering the mid point of the dynamic range. Using a low EI results in a brighter S-Log recording with a deeper shadow range but reduce highlight range. Using a high EI (it is not normally advisable to exceed 2000 EI) results in a reduced shadow range but increased highlight range.
F. Detailed guide to the Cine El Mode F1.7 Correct Exposure When MLUT’s can’t be used MLUT’s cannot always be used just for the viewfinder or monitor when the camera is shooting in S&Q motion or when the HDMI output is set to UHD. So in order to expose correctly you must check the exposure level of the S-Log2/3 images directly. One of the easiest ways to do this is by using a dedicated 90% white card (available form most good photo/video stores) or a piece of white paper to set the correct white level.
G. Slow Motion, Time-lapse and picture cache Section Index 1. Slow and Quick Motion (S&Q Motion) 66 2. Interval Record (Time Lapse) 70 3. Picture Cache Record 72 4.
G. Slow Motion, Time-lapse and picture cache G1. Slow and Quick Motion – S&Q motion S&Q motion allows the camera to shoot at a frame rate that is faster or slower than the play back frame rate. By shooting at a lower frame rate than the base frame rate action can be sped up, by shooting at a higher frame rate action can be slowed down. When shooting UHD or 4K the camera can shoot at between 1fps and 60fps.
G. Slow Motion, Time-lapse and picture cache In order to use S&Q motion the XAVC-L or XAVC-I codec must be selected (MENU: System – Codec). A progressive record format must be used (p) and the base playback rate of any slow motion footage is determined by the selected record format (MENU: System – Rec Format). To enable the S&Q mode press the assignable S&Q button or turn it on in the menu (MENU: Recording – S&Q Motion).
G. Slow Motion, Time-lapse and picture cache G1.2 Full Scan Uses the full sensor so there is no change to the field of view. However due to the way the sensor is read when shooting HFR, in certain circumstances there may be unwanted artifacts in the footage such as colored rainbow like patterns (moiré) or jagged edges in high contrast areas. G1.3 Center Scan Uses only the center portion of the sensor.
G. Slow Motion, Time-lapse and picture cache G1.4 Recommendation: For the best image quality when shooing HFR consider the use of Center Scan. NOTE: When the camera country area is set to PAL area the maximum frame rate in HD is 150fps. To shoot at 180fps the camera must be set to NTSC Area (MENU: System – Country –NTSC/PAL Area). For a comprehensive list of all the frame rates available please refer to the user manual.
G. Slow Motion, Time-lapse and picture cache G2. Interval Record – Time lapse recording Interval record can be used to capture frames at a preset interval. The frames are then played back as a video clip that significantly speeds up the action in the scene recorded. You can shoot using 4K, UHD or HD. In order to use Interval Record the XAVC-L, XAVC-I or MPEG HD 422 codec must be selected (MENU: System – Codec).
G. Slow Motion, Time-lapse and picture cache G2.1 Recommendation: Set the Interval Time to 1 second and the Number of Frames to 1. Increasing the number of frames beyond 1 typically results in jerky motion. A 1 second interval works well for scenes up to 30 minutes long, footage can always be sped up further in post production if required. For longer shooting periods use a longer interval.
G. Slow Motion, Time-lapse and picture cache G3. Picture Cache Record Picture cache record can be used to make the camera include a few seconds of video from the period immediately prior to the press of the record button in each clip. This can be very useful for recording unexpected events. The maximum cache recording period is dependent on the frame size, frame rate and recording codec. Only the XAVC-I, XAVC-L and Mpeg2 HD422 codecs can be used (XAVC-I 59.94p and 50p are not supported).
G. Slow Motion, Time-lapse and picture cache G4. Imager Scan Mode When recording 4K or UHD the full camera sensor is always used. However when shooting in HD it is possible to choose whether to use the full sensor or just the center 2K portion of the sensor. Using just the center portion of the sensor will have the effect of reducing the field of view of the image shot, in effect enlarging the recorded image by a factor of 2 compared to full sensor scan.
G. Slow Motion, Time-lapse and picture cache G4.1 Recommendation: Use Normal Scan when possible as it normally provides the best image quality. Use Center Scan if you need to extend the effective focal length of the lens. When 2K Full Scan is selected an “F” is added to the frame size indication. Contents 74 When 2K Center Scan is selected a “C” is added to the frame size indication. Note also how compared to Normal Scan or 2K Full Scan the image now appears enlarged in by 2x.
H. Audio Recording H1. Audio Recording An external microphone should be connected to one or both of the XLR inputs for the best results. However if an external microphone is unavailable there is a small microphone built in to the camera body. This Internal MIC can be selected in the menu and recorded on to any of the 4 audio channels (MENU: Audio – Input Select). H1.
H. Audio Recording H1.2 The correct input reference levels for the type of external audio source you are using is selected by switches on the right side of the camera body. In addition if using an external microphone that requires +48V Phantom Power this is enabled by selecting “Mic+48v”. H1.3 The recording levels for audio channels 1 and 2 can be controlled either automatically or manually using the level control knobs on the left side of the camera body.
H. Audio Recording H1.4 To view the audio level meters for all 4 audio channels press the “Status” button and use the scroll wheel to select the Audio display page. Press the status button once more to turn off the status display pages. If using manual audio control do not allow the audio levels to go into the red part of the audio level meters, this will result in distortion. The Audio STATUS page allows you to view the levels of all 4 audio channels.
I. Recording, media and troubleshooting Section Index 1. Recording, Recording Media and Backups 79 2.
I. Recording, media and troubleshooting I1. Recording, Recording Media and File Backup Always use approved XQD cards. Store unused media in a case to prevent dust and debris from accumulating inside the connector slot. It is recommended that cards are formatted periodically to maintain the best performance. (MENU: Media – Format Media). Never remove a card from the camera when the Red led adjacent to the card slot is illuminated.
I. Recording, media and troubleshooting When backing up media from the XQD cards to a computer, hard drive or other storage it is important that the entire contents of the card are copied retaining the original file structure. The additional “sidecar” files on the cards contain important metadata and other information important for the correct decoding of the video clips. Use a new folder to store the contents of each card backed up.
I. Recording, media and troubleshooting I2. Error Messages and common problems Restore Media: If on switching on the camera or inserting an XQD card you see the message “Restore Media” do not worry. This is the camera performing routine maintenance on the card to keep the file system tidy and free from corruption. Always allow the camera to perform the Restore Media function. It is not an error or fault, just housekeeping.
I. Recording, media and troubleshooting Unable to enable MLUTS on the HDMI output in the Cine EI mode: The MLUT can only applied to the HDMI output if (MENU: Video – Output Setting – HDMI Target) is set to Monitor. Unable to enable MLUTS for just SDI2, HDMI or the Viewfinder: MLUT operation is limited to ON or OFF for all outputs and internal recording in each of the following situations: The HDMI output is set to 4K/UHD. S&Q Motion is enabled.
Index A1. Introduction B1. All Files: Saving the camera setup C1. Choosing the right operating mode, Custom Mode or Cine EI C1.1 Overview of Custom mode C1.2 Overview of Cine EI mode D1. Preparing to shoot D1.1 Setting the country area D1.2 Choosing the right codec D1.
Index D2. The shutter and shutter speed D2.1 Choosing between shutter speed or shutter angle D2.2 Setting the shutter speed D3. Setting the gain or ISO D3.1 What is the difference between gain and ISO D3.2 Selecting gain or ISO D4. White Balance in Custom Mode D4.1 Preset White Balance D4.2 Memory Mode White Balance D5.
Index D6. Exposure, Waveform and Histogram D6.1 Using Zebras D6.2 Using the Waveform or Histogram D7. Aperture/Iris control D7.1 Iris in Custom Mode D7.2 Iris in Cine EI Mode D7.3 Getting a shallow depth of field for the filmic look D8. The ND filter System D8.1 The Variable ND filter on the FS7 II D8.
Index D9. Focus and Focus Aids D9.1 Auto Focus D9.2 Auto Focus Detection Area D9.3 Peaking D9.4 Focus Indicator D9.
Index E1. Gamma and Color Settings in Custom Mode E1.1 Suggested Gamma Settings E2. Gamma Categories (Custom Mode) E2.1 Standard Gamma E2.2 Hypergamma E2.3 User Gamma E2.4 S-Log2 and S-Log3 E3. Custom Mode Matrix (color) settings E3.1 Suggested Matrix settings E3.2 The Rec-2020 matrix in the PXW-FS7 II E3.
Index F1. Using the Cine EI Mode (in detail) F1.1 Colorspace (Gamut) and S-Log2/S-Log3 F1.2 Suggested settings for using LUT’s and exposing via an MLUT F1.3 The Video Signal monitor in Cine EI mode F1.4 Cine EI and MLUT’s explained F1.5 The High/Low Key function F1.6 Changing the Exposure Index F1.
Index G1. Slow and Quick Motion (S&Q Motion) G1.1 High Frame Rate (HFR) mode G1.2 Full Scan G1.3 Center Scan G1.4 HFR recommendations and notes G2. Interval Record (Time Lapse) G2.1 Interval Record suggested settings and notes G3. Picture Cache Record G4. Imager Scan Mode G4.
Index H1. Audio Recording H1.1 Connecting more than 2 audio sources (MI Shoe) H1.2 Setting the correct input levels H1.3 Setting the recording levels H1.4 Viewing the audio levels I1. Recording, Recording Media and Backups I2.
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