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Sony Releases More Details About The F5 4K Internal Recording Option

By technical editor Matt Allard:

The Sony F5 will soon be able to record 4K internally like its big brother the F55 with a paid upgrade.

The Sony F5 will soon be able to record 4K internally like its big brother the F55 with a paid upgrade.

Yesterday Sony released firmware version 5.0 for the F5/55. This enabled 4K XAVC internal recording on the F5 if you purchase the CBKZ-55FX optional license key. Unfortunately the optional license key isn’t yet available and won’t be until January. The CBKZ-55FX optional license key will be installable by the end user. The CBK-55PD ProRes/ DNxHD encoder board will also be available in January but that will require you to send your camera into a Sony Authorised Service Center.

Here is the exact release from Sony:

FAQs

CBKZ-55FX

What is the CBKZ-55FX?
a. CBKZ-55FX is an optional license key that activates XAVC 4K/QFHD recording and playback, 4K SDI and 4K HDMI Output as well as simultaneous recording of XAVC 4K/QFHD, and MPEG HD in the PMW-F5.

2. When will the CBKZ-55FX be available?

a. The CBKZ-55FX will begin shipping in mid-Jan.

3. Is firmware version 5.0 required in order to install the CBKZ-55FX?

a. Yes, v5.0 firmware is required on the PMW-F5 prior to installing the license key.

4. Is the CBKZ-55FX installed by the end user or Sony Service?

a. The CBKZ-55FZ is installed by the end user. See FAQ #5.

5. What is the purchase/installation process of the CBKZ-55FX? The purchase process is similar to any other product.

a. The end user places an order for CBKZ-55FX with their Sony Authorized Reseller or directly with Sony.
b. Sony will ship an envelope containing a purchase key and instructions for downloading and installing the license to the Reseller (reseller order) or End user Customer (direct order).
c. Reseller will ship the envelope to their end user customer.
d. The end user must follow the instructions provided in the envelope to download/install the license key.

6. What is the difference between the CBKZ-55FX upgrade option vs the F52F55UPGKIT?

a. The F52F55UPGKIT is a hardware upgrade option that offers the same image sensor and Color Filter Array as the F55, in addition to the internal 4K and output capabilities as the CBKZ-55FX, explained above.
b. One other difference is the F52F55UPGKIT permits live 4K signal output via the CA-4000 fiber adapter, which the CBKZ-55FX does not

CBK-55PD
Apple ProRes and Avid DNxHD® encoder board for F5/F55

When will the CBK-55PD Codec Board be available?
a. The board will begin to ship in early Jan.

2. What is the purchase/installation process for the CBK-55PD Codec Board?

a. The end user places an order for CBK-55PD with their Sony Authorized Reseller or directly with Sony.
b. The Reseller or Sony will ship the Codec Board to the customer.
c. The CBK-55PD Codec Board must be installed at a Sony Service Center. End users must schedule an appointment with the Sony Service Center for the installation. This is a one way upgrade; the encoder board cannot be uninstalled.

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Posted on December 20th, 2014 by Matthew Allard | Category: 4K, Sony, Sony F5, Sony F55 | Permalink | Comments (2)

Atomos Shogun 4K recorder feature run through with Stefan Czech

By site editor Dan Chung:

Filmmaker Stefan Czech works closely with Atomos and has been lucky enough to have an early hands on with the new Atomos Shogun 4K recorder. He has made an detailed hands on video that does a great job of explaining how to set the recorder up and the various functions.

Stefan has also posted a 4K version of a music video he shot using the Shogun and a Sony a7S. The combination is clearly capable of some stunning results and we look forward to testing it for ourselves here at Newsshooter.

Posted on December 20th, 2014 by Dan Chung | Category: 4K, External recorders, Panasonic GH4, Sony a7S | Permalink | Comments (0)

Convergent Design ship Odyssey 7Q+ recorder, add FS7 RAW support and improve offer to existing customers

By site editor Dan Chung:

The new Odyssey 7Q+

The new Odyssey 7Q+

Convergent Design have today announced that they shipping their new Odyssey 7Q+ 4K recorder – just a day or so after Atomos started shipping their Shogun 4K recorder (without playback enabled). This can only be good news for owners of cameras like the Sony a7S and GH4 who now have not one, but two good looking recorders to choose from.

In addition Convergent Design launched new firmware for the entire Odyssey line. Firmware version 4.10.100 works with the Odyssey7, Odyssey7Q and the new Odyssey7Q+ and adds a raft of new features which vary depending on which model you own.

The 7Q+ gains 10-bit recording in 4K and 1080/50 and 60P. All models get the important HDMI timecode and start/stop triggering with the a7S and the GH4 (when the next firmware version is finally released). Support for Convergent’s new 1TB SSD is also added.

On the 7Q and 7Q+ you can now select the HDMI input as one of the inputs for multi-stream monitoring. In addition support for the FS7 when fitted with the Sony XDCA-FS7 is now added that allows RAW and ProRes recording, plus the useful 4K RAW to HD mode. Here are the full details of new modes added:

Sony FS7 (with XDCA-FS7 extension back) Support

Record modes available with FS RAW Record Option:

4K RAW 23.98, 25, 29.97, 50, 59.94
2K RAW 23.98, 25, 29.97, 50, 59.94, 100, 119.88 (120), 200, 239.76 (240)
4K RAW to 4K Apple ProRes 422 (HQ) 23.98, 25, 29.97
4K RAW to UHD Apple ProRes 422 (HQ) 23.08, 25, 29.97
4K RAW to 2K Apple ProRes 422 (HQ) 23.98, 25, 29.97, 50, 59.94
4K RAW to HD (1080p) Apple ProRes 422 (HQ) 23.98, 25, 29.97, 50, 59.94

NOTE: FS7 S-Log3 supported in RAW & Apple ProRes record modes

Sony FS700 4K RAW to 4K/2K Apple ProRes

Additional record modes available with FS RAW Record Option:
4K RAW to 4K Apple ProRes 422 (HQ) 23.98, 25, 29.97
4K RAW to 2K Apple ProRes 422 (HQ) 23.98, 25, 29.97, 50, 59.94

Canon C500 4K/QHD RAW to 4K/UHD Apple ProRes

Additional record modes available with Canon RAW Record Option:
4K RAW to 4K Apple ProRes 422 (HQ) 23.98, 24, 25, 29.97, 30
QHD RAW to UHD Apple ProRes 422 (HQ) 23.98, 24, 25, 29.97, 30

Since the announcement of the 7Q+ there has been a backlash of disgruntled 7Q owners who were unhappy with the loyalty program announced at the same time as the 7Q+. There is to be no buy-back of the 7Q in exchange for a 7Q+, and no way to upgrade. Instead the company offered a $500 credit coupon for use on the Convergent Design website, a warranty extension of one year, and if the users buys a new 7Q+, then the transfer of any licences purchased on the 7Q onto the 7Q+ (while still being able to leave them on the 7Q as well).

However, this offer did not seem generous enough to some and in an attempt to satisfy those users Convergent Design have increased the loyalty program. They have also published the open letter below that explains why the company feels that they are not being unfair to their loyal customers and that in fact the deal on offer is a good one:

“From: Convergent Design

To: All Owners of the Odyssey7Q

Dear Friends,

For more than a decade, Convergent Design has sought to make an impact on the motion picture and television production industries by designing & manufacturing innovative new products and offering exemplary client support and service. The introduction of the Odyssey7Q last year was a huge step forward as a revolutionary leap-frogging of capabilities in a monitor/recorder. It was also a slow and painful birth, from the delayed first delivery of the product to the gradual expansion of capabilities with firmware updates. Through it all we have strived to be as forthcoming and available as possible with information and support for our clients, and we thank the thousands of you who have taken this journey with us.

Last week Convergent Design announced the successor to the Odyssey7Q, the Odyssey7Q+. Many

Odyssey7Q owners were upset, feeling that their Odyssey7Qs were devalued. There were some misunderstandings both in the technical differences between the models as well as the Loyalty Program we announced for those interested in upgrading from the Odyssey7Q to the Odyssey7Q+. This letter is to help provide some answers, but first another matter.

Thank You

As a sign of appreciation to our Odyssey7Q owners, all Odyssey7Qs will have their warranties extended to January 1st, 2016. For recently purchased Odyssey7Qs this is a modest extension, while for early adopters it can be greater than an additional year of coverage. There is no additional purchase necessary for this warranty extension. The December 2014 firmware update (launching today) will reset the warranty information within every Odyssey7Q.

Odyssey7Q v. Odyssey7Q+

The Odyssey7Q is not obsolete. There are only two differences between the Odyssey7Q and the

Odyssey7Q+.

1. Over HDMI the Odyssey7Q can accept up to 1080p30 or 1080i60 in 4:2:2 8-bit. The Odyssey7Q+ can accept 4K/UHD up to 30p or 1080p60 in 4:2:2 10-bit.

2. The Odyssey7Q+ has a more advanced connection over its four SDI inputs, although there is currently no camera manufactured or planned (that we know of) that would take advantage of this difference. As such it may never be enabled in the Odyssey7Q+, but there was no cost in us changing the input.

Those are the ONLY differences between the Odyssey7Q and the Odyssey7Q+. If you do not have any plans to utilize the higher formats on the HDMI input, then there is no difference between the two products. If you only shoot with SDI-based cameras, there is no difference. The central processor is the same, and with every firmware update both models will receive the same expanded functions.

Record Options will be equally added to on both the Odyssey7Q and the Odyssey7Q+. So will free functions, such as the December update’s Custom Frame Guides. The Odyssey7Q and Odyssey7Q+ are effectively identical other than the HDMI input and Convergent Design is committed to continue to support all Odyssey products for years to come.

The Loyalty Program

With the new stretching of the Odyssey7Q warranty, the previously announced Odyssey7Q Owner Loyalty Program terms had to be slightly adjusted. Odyssey7Q owners who choose to participate in the revised Loyalty Program will, with the purchase of a new Odyssey7Q+, receive an additional year of warranty coverage on their Odyssey7Q (to January 1st, 2017), all purchased Record Options on the Odyssey7Q DUPLICATED (not transferred) onto the Odyssey7Q+ and $500 worth of credit coupons on the Convergent Design web store. These credits can be transferred to other registered Odyssey owners if so desired. For details of the Owner Loyalty Program, please see the accompanying document.

Why No Upgrades or Trade-Ins?

Many people asked why Convergent Design did not offer a retrofit of the Odyssey7Q, or a trade-in program. We did study all possible options extensively. This is the best deal possible. Let me explain. The Odyssey7Q’s HDMI input receiver chip is hardware-limited to a maximum signal of 1080p30 (1080i60) in 8-bit. At the time the Odyssey7Q was developed this was the most advanced HDMI receiver chip on the market.

Convergent Design looked into numerous solutions to physically adding 4K input from HDMI sources to the Odyssey7Q. We did extensive testing on a box to accept 4K HDMI and convert it to SDI to plug into the Odyssey. It proved unreliable and degraded the signal. It was also bulky, power hungry (requiring separate power), heavy, inelegant and worst of all quite expensive. The solution would have cost more than $1000 to our clients. After trying to solve the technical issues in multiple ways, we had to abandon the option. Perhaps in the future there may be an off the shelf chip that does this work and the cost can be dramatically lowered while the functionality stabilized, but that is not the case today.

We looked into the possibility of a physical upgrade to the Odyssey7Q to turn it into an Odyssey7Q+. This is no small task. The board went through a major redesign to accommodate the new HDMI receiver chip (that’s why we had to swap the locations of the HDMI in & out ports). The only way to do it would be to rip out the old board and replace it with an entirely new one, and then go through extensive testing on what was essentially a new unit. We would have had to charge over $1000 for that as well. It would also mean clients sending in Odyssey7Qs from all over the world, being without their devices for weeks, customs and VAT issues for international trade, etc. It would have been a nightmare to deal with for you and for us.

We thought about a simple swap: send us your Odyssey7Q plus a fee and we send you an Odyssey7Q+. But this again would be a nightmare for international clients, some of whom would end up paying more to do this then they would simply buying a new Odyssey7Q+. It would also again mean you would be without your monitor/recorders for weeks. And that fee would be a bit hefty as there are substantial hard costs we have in the construction of an Odyssey7Q+. We all would like such an upgrade to only cost a few hundred dollars, but the reality is that we would once again be hovering near that $1000 mark.

So we decided to give owners a bunch of value on your original Odyssey7Q units so that if you wished you could choose to sell it yourselves. Trading in your car at the dealer is painless but you always get much less for it then if you sold the car yourself. We were trying to make it as sellable as possible.

The Odyssey7Q gets a warranty extension twice as long as when it was brand new. The Record Options remain on it raising its value. And to try to ease the transition some more we include a gift of $500 credit towards the purchase of Recording Options on our website.

Convergent Design sells the Odyssey7 new for $1295. An Odyssey7Q on the resale market should easily sell for more. It would come with a longer warranty and it has far greater capabilities, such as 4K ProRes recording. Depending on the Record Options on the Odyssey7Q there is the potential to exceed the full purchase price of the Odyssey7Q+.

In the end we felt that this was the best value we could offer our clients.

Best Wishes,

Convergent Design”

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Posted on December 20th, 2014 by Dan Chung | Category: 4K, External recorders, Panasonic GH4, Sony a7S | Permalink | Comments (0)

Video review: Tascam DR-70D recorder offers professional audio capture on a budget

By Technical Editor Matt Allard:

DSLRs and small mirrorless cameras are great because of their compact size, lower costs and versatile lens choices. Unfortunately most of them lack professional audio controls and features. They usually suffer from sub-standard internal microphones and no XLR audio inputs. Most professional news and documentary shooters will add an external audio solution to capture audio using these cameras. These usually come in the shape of an external XLR box/pre-amp like the popular Juicedlink and Beachtek models, a manufacturers solution like Sony’s XLR-K2M, or an audio recorder that captures sound separately and is synchronised with the video in post production (sync sound). In the past you could also feed the output of your audio recorder directly to the camera via a PAD cable from companies like Pinknoise systems, but more recently makers have provided a dedicated output at the correct level on some of their recorders such as the Tascam DR-60D.

The Tascam DR-70D

The Tascam DR-70D

Tascam have just released their new DR-70D 4 channel compact audio recorder. Shorter and flatter than the older DR-60D the unit features two in built microphones, four XLR/TRS combo jacks and the ability to output audio via a 3.5mm mini jack to a camera. For owners of cameras such as the Canon 5D mkIII, Panasonic GH4, BMPCC and Sony a7S the DR-70D enables you to record quality audio externally and internally to your camera at the same time. This provided the best of both worlds – you can create a backup/failsafe version of the audio at all times.

It can provide phantom power (+24v and +48V) and choose between a line or mic source. The DR-70D offers a lot of versatility for users. At $299 it should meet the needs of budget conscious shooters and is an ergonomic improvement over their previous DR60 models. For more details check out the Tascam website.

Posted on December 19th, 2014 by Matthew Allard | Category: Audio, Canon EOS 5D MkIII, Panasonic GH4, Sony a7S | Permalink | Comments (1)

Panasonic delay latest scheduled GH4 firmware release

By site editor Dan Chung:

The Panasonic GH4 - Photo by Chuck Fadely

The Panasonic GH4 – Photo by Chuck Fadely

According to their Japanese website Panasonic have postponed the release of their upcoming GH4 firmware update. It promises to add timecode and recording control to the HDMI output of the camera when used the Atomos Shogun recorder. They now say the firmware will be due some time in January 2015.

This from Panasonic:

Panasonic postponed the release of firmware update programs for the LUMIX Digital Single Lens Mirrorless (DSLM) camera DMC-GH4 and the Interface Unit DMW-YAGH which were originally scheduled to be released in December of 2014 due to the need of further verification.

With the firmware for DMC-GH4, time code and recording control signal can be embedded to the HDMI output signal*. Now both FHD at 30p/25p native or at 60p/50p is selectable to output via HDMI while recording video in FHD at 30p/25p.

The Interface Unit DMW-YAGH will also be updated with the new firmware to support these functional upgrades of DMC-GH4. Plus, over 60i/50i (30PsF/25PsF) or 60p/50p is selectable for the output via SDI.

The new firmware programs are going to be released in January of 2015.

* These functions are available when DMC-GH4 or DMW-YAGH are connected with the products of ATOMOS Global Pty. Ltd. or the products complying with the extended specifications of ATOMOS Global Pty. Ltd..

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Posted on December 19th, 2014 by Dan Chung | Category: Panasonic GH4 | Permalink | Comments (0)

Sony F5/55 Firmware Version 5.0 Now Available For Download

By Technical editor Matt Allard:

Sony today released their latest version 5.0 firmware for the F5 and F55 cameras. While a lot of this firmware release has to do with paid upgrades there are a couple of key features that will benefit all owners. Finally there is support for interval recording, and noise reduction for Cine EI mode. One of the biggest drawbacks of using Cine EI was not being able to use any sort of in camera noise reduction. Users have been asking for this feature for quite a while so it is good to see Sony implement it.

Support for the enabling of paid features such as ProRes and DNxHD internal recording and the CBKW-55FX F5 4K internal recording option are also part of the release. It also probably means the disabling of Paul Ream’s unauthorised ‘All file’ method of getting 4K running on the a F5 – if you are going to want to run 4K on the F5 using v5.0 firmware you are likely going to have to pay for it.

Even so I can see a lot of F5 users paying for the 4K XAVC internal recording option, but there may not be too many users rushing out to purchase ProRes or DNxHD internal recording as there are plenty of cheaper off-board options available. The lack of any sort of 4K ProRes or 4444 recording options at this stage is also a drawback.

The optional ENG Sled is now supported

The optional ENG Sled is now supported

This from Sony:

Major features supported in this release:

Apple ProRes and Avid DNxHD® with the optional CBK-55PD
Interval Recording
Support for the optional ENG and Documentary shoulder mount dock CBK-55BK
4K upgrade for the F5 via the optional (for purchase) CBKW-55FX
Noise suppression in Cine EI mode

Details:
Supporting additional codecs, Apple ProRes and Avid DNxHD® with CBK-55PD
PMW-F55/F5 can record and playback in ProRes 422 HQ and ProRes 422 on 23.98p, 24p, 25p, 29.97p, 50i, 59.94i and DNxHD220x, and DNxHD145 on 23.98p, 25p, 29.97p, 50i, 59.94i by installing the optional CBK-55PD (sold separately). NOTE: PMW-F55/F5 with CBK-55PD installed is not supported with the CA-4000 and BPU-4000, 4K Live Productions system.

Supporting the optional ENG and Documentary shoulder mount dock CBK-55BK
The PMW-F55/F5 is compatible with the optional CBK-55BK (sold separately). CBK-55BK is a specialized accessory docking unit with shoulder Pad and Interface for the PMW-F55/F5. This accessory can be attached easily and allows users to access key functions such as Shutter, Gain, White Balance, Rec Button and Assignable Buttons. In addition the CBK-55BK supports Wireless slot-in audio receiver and Audio control like standard Broadcast shoulder camcorders.
In addition to new functionality, v5 adds support for the optional new hardware accessories being introduced, including the Apple ProRes and Avid DNxHD® encoder board, the new ENG, Documentary Shoulder mount dock, and the optional 4K upgrade for the F5.- All of which are detailed below.

Supporting the optional 4K Upgrade for PMW-F5 with CBKW-55FX
By installing the dedicated option CBKZ-55FX (sold separately), recording and playback of XAVC 4K and XAVC QFHD is available for the PMW-F5. In addition, simultaneous recording function with MPEG Proxy is available.

Interval Rec function with XAVC and RAW
Interval Rec function allows you to record frames specified at regular intervals. Interval Rec function is available with XAVC format and RAW recording with the AXS-R5.

HDCAM SR File, (SStP) SR-SQ 422 in 59.94i (PMW-F55 only)
PMW-F55 supports SStP SR-SQ 422 in 59.94i. Also simultaneous recording function with MPEG Proxy is available.

Memory A/B white balance in Custom mode
White balance Memory is expanded to Memory A and Memory B in Custom mode. The color temperature can be set independently.

Noise suppression is available in Cine EI mode
“Noise Suppression” setting in the Camera menu is available even in Cine EI mode. The default setting is OFF.

Added selectable functions for Assignable Button
“Color Bars,” “VF Focus Magnifier,” and “White Memory” (switching between Memory A/B) are added to “Assignable Button”

Direct Changing FPS (STEP) using Menu dial
During S&Q Motion, FPS can be changed by pushing and rotating the Menu dial. You can set 6 steps of Frame Rate in “Menu Dial Assign” in “Assignable Button” menu.

Bug fixes

When using assignable button of marker, incorrect message was displayed. This has been fixed.

After APR in HFR mode, in some cases Frame Rate was changed to 60FPS automatically. This has been fixed.

In some cases false color function with DVF-EL100 and DVF-L700 worked in S-Log3 incorrectly. This has been fixed. False color function is available only when S-Log2 is selected.

While simultaneous recording with RAW and MPEG50 in 50 and 59.94, recording start frame of MPEG50 was delayed. This has been fixed.

Double Speed VF setting was automatically turned off when HFR mode turns off. This has been fixed. Double Speed VF setting remains when changing HFR mode on/off.

Please note the following:

iOS setting for Wi-Fi Remote
While using Wi-Fi Remote with iOS devices and Safari, please turn off Private browse function.

All file Support
All files which are created with Firmware v5.0 are not compatible with an earlier firmware version.

Auto Reboot after ABB and APR on ProRes and DNxHD®
When ABB or APR is executed in ProRes and DNxHD mode, PMW-F55/F5 automatically reboots after displaying “Auto Black Balance OK” or “RPN Auto Detection OK ” and “Rebooting…..”. This sequence is normal. ABB or APR is correctly executed.

Assignable buttons setting does not remain
When you update to v5.0 from an earlier version of firmware, or load ALL File generated in an earlier version of firmware, the Assignable buttons setting does not remain. Please set each assignable buttons manually.

<< Version up procedure >>
Please refer to “Version Up Guide for PMW-F55 and F5”.

You can download the firmware here

Posted on December 19th, 2014 by Matthew Allard | Category: 4K, Sony F5, Sony F55 | Permalink | Comments (0)

Tilta’s new FS7 rigs and V-lock battery plate

By site editor Dan Chung:


The Tilta FS7 rig

The Tilta FS7 rig

Rig maker Tilta have sent us details of their new Sony FS7 setups which will go on sale very soon. These aim to transform the camera into a full cinema rigs and at first glance make the FS7 look quite a lot like a much more expensive F65.

The Tilta VCT compatible baseplate

The Tilta VCT compatible baseplate

The core of the FS7 rig is a VCT compatible baseplate. It looks similar to others now on the market, following the contours of the FS7’s original built-in shoulder pad but offering a larger, more comfortable surface. What is more unique about the Tilta is a front and top plate that wrap right around the front of the camera but still leaves the original Sony handgrip and controls in place. There is also a nice looking lens bracket that can secure a PL mount lens adapter.

The Tilta FS7 rig wraps around the original handgrip

The Tilta FS7 rig wraps around the original handgrip

The lens adapter support

The lens adapter support

Another part of the kit that may interest FS7 owners, even if they don’t buy the other parts, is Tilta’s new FS-T01 V-lock battery plate. This attaches to the rear of the camera in the same place that Sony’s own XDCA-FS7 v-lock extension pack would otherwise go. If you don’t want or need the additional ProRes recording, RAW SDI output and other connections, but still prefer a larger battery for longer run times and better balance then this looks like a great option.

The V-lock battery plate attaches to mounting points on the top of the camera

The V-lock battery plate attaches to mounting points on the top of the camera

I believe the balancing the camera on your shoulder is massively important for long days of factual shooting. If you are going to add lots of metal parts to your rig that make it very front heavy then you should be looking to move the centre of gravity forward – like Zacuto do with their VCT plate, or adding a lot of weight at the rear to keep the setup balance. If you choose the latter option then the Tilta battery plate could be very handy.

Keep a lookout at Tilta dealers or on the company’s website for more info and availability.

Below is the detail of kit options from Tilta:
KIT 1(ES-T15):
Sony FS7 quick release baseplate (BS-T10)(SONY VCT-U14 plate ) Front bracket (PL mount support adaptor included)
Top handle plate, 15mm*200mm rod*2
weight:720g

KIT 2(ES-T15-A):
SONY FS7 quick release baseplate (BS-T10)(SONY VCT-U14 plate )
Front bracket (PL mount support adaptor included)
Top handle plate, 15mm*200mm rod*2, 4*4 lightweight matte box, 15mm follow focus with hard stops.

KIT 3(ES-T15-B):
SONY FS7 quick release baseplate(BS-T10)(SONY VCT-U14 plate )
Front bracket (PL mount support adaptor included)
Top handle plate, 19mm baseplate&12’’dovetail plate (19mm*450mm rod*2 included) (TT-C06/07), 4*5.6 carbon fiber matte box(MB-T04), single sided cinema follow focus(FF-T05).

KIT 4 (ES-T15-C)
SONY FS7 quick release baseplate (BS-T10)(SONY VCT-U14 plate )
Front bracket (PL mount support adaptor included)
Top handle plate, 19mm baseplate&12’’dovetail plate (19mm*450mm rod*2 included)(TT-C06/07), 6*6 carbon fiber matte box(MB-T06), dual cinema follow focus(FF-T04).

Accessories:

Model No.: BS-T10

SONY FS7 quick release baseplate BS-T10(SONY VCT-U14 plate ),15mm*200mm rod*2 ,
Weight:325g

Model No.:FS-T01
V-lock battery plate FS-T01 (can be attached to the rear of the camera
Weight: 200g

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Posted on December 18th, 2014 by Dan Chung | Category: Camera support systems, Sony FS7 | Permalink | Comments (2)

New Sony FS7 firmware version 1.1 available for download – offers ‘improved sensitivity of the iris control’

By site editor Dan Chung:

FS7 owners may have a merry Christmas thanks to Sony.

FS7 owners may have a merry Christmas thanks to Sony.

As anticipated Sony today released their latest version 1.1 firmware for the FS7. Hopefully this will improve the slow iris response that many users have complained about when using native E-mount lenses and also Canon EF lenses when used with the latest Speedbooster Ultra and Smart adapter MKIV.

Another function that has confused users is which combinations of camera setting allow for LUTs to be applied to various outputs and which do not. This is apparently now simplified.

You can download the v1.1 firmware here.

This from Sony on their user forum:

Ver. 1.1 brings improved sensitivity of the iris control, simplified Video Signal Monitor and LUT selection. It also adds [S-Gamut/S-Log2 Gamma] color grading space to the Cine EI menu and associated LUT to the Video Out menu. Mode details in the attached documents.

Further builds will continue to add functionality and improve operability.

And this from the description of the update:

• Support for “S-log2 Gamma/S-Gamut” is added to the Cine IE Menu.
• The “sensitivity” of the Iris aperture setting using the “Iris dial” and the “assignable dial” is improved and optimized for various lenses or adapters.
• “Video Signal Monitor” display enabled condition.
1. The default value of “Output Format” on the Video Menu is changed. This will allow “Video Signal Monitor” display without changing the “Output Format” from the default setting.
2. Video Signal Monitor is displayed in the SDI and viewfinder while in “Edge Crop mode” (Except, when the “Rec Format” or the “RAW Output Format” is set to 4096×2160 or 2048×1080; in this case the VSM will only display on SDI, not on the viewfinder.
• “Zoom Ring Direction setting” will be retained after Power OFF

Posted on December 18th, 2014 by Dan Chung | Category: Sony FS7 | Permalink | Comments (0)

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