Andrew Reid

I have my Odyssey 7Q+ on loan so I didn't factor it into the price of the FS5. The used FS700 + Odyssey 7Q+ would have cost me similar to the FS5 or more. Ergonomics are important as is the variable ND. In fact ergonomics are my number 1 reason for getting the FS5 at all, as I already have the A7S II and others. Also I think the sensor is newer in the FS5 / FS7. And additionally it is going to be well supported with firmware as it is the current model. Plus the internal compressed 4K is very useful when you want to keep the file sizes down. Does that answer your question Shield3?

Still can't quite get it close to the 5D2... The colours feel less alive inside and outside the green push looks like an alien has landed. When the FS5 gets the raw update, it will be very welcome.

Today I gave my early FS5 feedback to Sony and the good news is they confirmed another firmware update is in the pipeline. I am allowed to give you some of the confirmed new features, although the release timing and full details are yet to be fully decided. It is clear Sony is going to support the FS5 extremely well! Read the full article

It's graded in Film Convert using the S-LOG 2 FS7 profile. Next I am going to grade it myself and see if it will match the 5D raw The WB was correct on the FS5 in-camera.

Just a quick test, even quicker grade. I am working on a bigger article for this. 5D Mark II raw (24p, ISO 800, 1/50 F2.8) Sony FS5 S-LOG 2 (25p, 4K, ISO 3200 base, 1/50 F2.8)

You did a good job in matching the skin tones across two very different LOG profiles. It proves again it can be done! Canon LOG is just easier but once you get S-LOG all the way there, it's easy to keep it there. You don't need to keep reinventing the wheel once you have a workflow and a LUT that suits you. Skin tones are very sensitive to what you do with the red channel. If the A7R II looks to sharp remember you can always add a light gaussian blur in post!

The flat one. Not quite LOG but better than Rec 709.

So far I've only had the camera for a few days so hard to really give a definitive answer. So far I'm not seeing any big image quality advantage from the FS5 over the A7S II, aside from rolling shutter obviously. And that is pretty important. The 4K looks a bit sharper maybe. I wouldn't upgrade on image quality alone. I'd upgrade for the form factor above all and the following: Built in variable ND (great feature!)Raw upgrade comingMuch longer battery run times and much quicker chargingMuch more dramatic slow-mo and full super 35mm sensor scan in 240fpsBetter monitoring and audioBetter connections (SDI and XLR)Much less rolling shutter in 4KBetter video ergonomics, nice top handle, no need to rig out with cage, etc.Better balancedNot as fiddlyThe built in EVF is articulatedAnd over the C100 II I would have to say off the top of my head: Speed Booster compatible for full frame lookInternal 4K recordingHigh frame rates / cache recordVariable NDPL mount adapter compatibile (can't wait to use my Cookes on it)

Of the alternatives Ebrahim selected the URSA Mini appeals the most as the 'complete' solution, but the power consumption will be mighty high compared to the FS5. It's great being able to run the FS5 off a camcorder battery and having it weight well under 1.5kg fully rigged out ready to shoot. The URSA Mini 4.6K will be at 2.3kg plus another 3kg for all the bits you will need to add to it - the V-lock battery is a big chunk of that. I wish Blackmagic would do an URSA Super Mini 2.5K which would be the old BMCC updated to a nice form factor with less power hungry cooling etc. running off a small battery. I loved that image. Oh and should get 2.5K ProRes and full 4:3 scan for higher vertical res and anamorphic. I find it a chore to carry a very heavy rig around on foot over wide distances in a city. It really slows down a shoot unless you have a crew.

That's just speculation tugela. Also there are two separate issues. There's the bug, not just the performance limitations of the codec. With the edge ripping this isn't internal codec related at all unless Sony are doing something really strange and applying compression / H.264 encoding to the feed that hits the monitor, magnified focus assist and uncompressed SDI. I don't think so! This looks to me like a 4K image processing bug. The performance in 10bit (internal 1080p) is worse than 8bit AVCHD on the C100 II so if Sony want to beat the Canon and live up to their own marketing text they will have to upgrade the 10bit mode.

I think the form factor, audio and ergonomics justify the cinema cameras for pros rather than image quality, so to cripple the FS5 is pointless of Sony, it should have had the same codec options as the FS7.

Even the GH4 has an ALL-I codec at 200Mbit/s... and that's $1400. $1400 vs $5600 The less you pay, the better the codec?! Blackmagic Pocket Cinema Camera, $1000 and under. 10bit ProRes and internal Cinema DNG raw! Indeed, c'mon Sony!!

7D doesn't do 240fps though does it?

The Sony FS5 has had a largely warm welcome from the video community but there has been one thing bugging a lot of owners and potential buyers alike - the quality of the internal codec. Just how good or bad is it? Read the full article

The 1D C's 4K in Canon LOG, no sharpening in post, definitely is softer / more organic (delete as appropriate) than the Sony A7S II / A7R II / FS5. Not really a bad thing to be honest.

Maybe this is why they now have 3 colour temperatures of S-Gamut on the FS5. Anyone had experience with FS7 raw? Issues?

You're right, the file names give it away! They look close though don't they, considering 500Mbit 4:2:2 on the 1D C and just 100Mbit 4:2:0 on the FS5. Grading is a powerful tool!

Nice to have one less thing to think about during a shoot. ISO? Ah don't care. Very liberating It's why the FS5 is nicer to use than the A7S II. You just stick it in S-LOG at the base ISO of 3200 and 1/50, then use the variable ND filter for all your exposure adjustments. One control suits all.

S-LOG and Canon LOG can be matched. In any situation. I'd even say S-LOG has an edge in some cases. It's true Sony have some puke like colour profiles and dreadful camera colours in the past but they are getting better all the time. The FS7 / FS5 / A7R II / A7S II do great Canon-matching colours if you can grade S-LOG without fucking it up. There's a lot of ugly grading out there.

If the colours are so 'puke' like, then surely Blondini you will have no problem telling these 1D C and FS5 4K frames apart...

It is great for what it is. Of course there are a few things that it isn't... for example it's not a lightweight solution to carry around a location or a quick to start up point / shoot / done kind of camera. It's the kind of camera to bring onto a set for hours, a labour of love, getting the lighting right and really taking time over it. It will be very rewarding! Same in post! A slow camera but a great one.

And your contribution is......... ?

I agree. But the one thing the RED MX does have going for it is the raw codec. It's much nicer to work with than Cinema DNG and offers a much larger range of compression settings.

S-LOG 2 needs to upgrade you, not the other way round

Awesome. That is one helluva deal for the image you'll get!! And not short of accessories is it The codec is a good reason to go Red. It's very impressive. How is low light?