Sony PMW-F5 User manual

PMW-F5 and PMW-F55 Quick Reference Guide.

For On-Line Help See: http://community.sony.com/t5/F5-F55/bd-p/large-

sensor-camera-F5-F55

For Tutorials and Tips see: http://www.xdcam-user.com.

This document has been prepared without the direct support of Sony. I have

tried to make it as accurate as possible, but cannot guarantee that there may

not be some errors or omissions. Comments and suggestions are welcome

via www.xdcam-user.com.

You can download the latest version from here:

http://www.xdcam-user.com/2014/04/pmw-f5-and-pmw-f55-quick-reference-

guide/

HOW TO USE THE DOCUMENT:

Anything in italics, like this (System – Base Settings) indicates the menu

page or menu setting that you may need to change or where to look for the

settings mentioned in the text.

This document is copyright, but please feel free to copy and distribute it

without modification, keeping all copyright notices etc for not-for-profit

purposes, i.e.– you may not sell this document, but you can give it away as a

free hand-out.

There are several sections:

HELP SOMETHINGS NOT

WORKING.

If the camera doesn’t work as

expected, crashes won’t power up or

you can’t turn something on, check in

this section.

S&Q, SLOW MOTION AND CENTER

CROP.

Anything to do with S&Q motion

check here. Also information on

shooting 2K raw or using the camera

in Center Crop or Full Frame Modes.

OTHER GOTCHAS AND USEFULL

THINGS TO KNOW

Problems and issues that don’t live in

any of the other sections including

media issues, APR and Noise

Reduction.

CINE EI MODE AND LUTS

Information about using the Cine EI

Mode and LUT’s

CUSTOM MODE.

Information about using Custom

mode with some notes on Gamma

Matrix and other paint settings.

This revision: V8 5th July 2014 Firmware V4.1

PMW-F5 and PMW-F55 Quick Reference Guide.

HELP! SOMETHINGS NOT WORKING:

CAMERA UNRESPONSIVE

Remove battery wait a few seconds

and replace battery.

Check the (Lens Interface) settings

and turn the (Lens Interface) to OFF

unless you are using lenses with the

Arri or Cooke interface.

It’s recommended that you perform

an (All Reset) in (System) if this

occurs.

Try re-seating the WiFi Dongle, a

loose WiFi Dongle can cause the

camera to hang.

NO HDSDI OR HDMI OUTPUT

Check that the HDSDI and HDMI

outputs are enabled in the (Video –

Output On/Off AND Video – Output

Format) pages of the menu. If still no

output, perform an (System - all

reset)and re-start the camera.

R5 RAW RECORDER DOES NOT

COME ON WHEN IN CINE-EI

The R5 raw recorder will only operate

in the Cine-EI Mode. In addition you

need to set the operating mode

(System – Base Setting – Shooting

Mode) to RAW and you must set the

(Recording – Rec Control) to AXS

for raw on the R5 only or AXS + SXS

for raw plus internal SxS.

CAMERA WON’T COME ON AFTER

CHANGING LENS.

Check the (Camera - Lens Interface

- Setting) settings and turn the (Lens

Interface) to OFF unless you are

using lenses with the Arri or Cooke

interface.

OPTITEK LENS ADAPTER FOR

CANON LENSES NOT WORKING.

Check the (Lens Interface) settings

and turn the (Lens Interface) to

(TYPE C).

CAN’T SELECT 4K HDSDI OR 4K

HDMI OUTPUT.

4K HDSDI and HDMI output is only

available on the PMW-F55 and only

when the camera is recording 4K

internally on the SXS cards. If using

the R5 to record 4K you can only

record 2K/HD on the SxS cards, so

cannot get a 4K HDSDI or HDMI

output.

CAN’T ENABLE PROXY

RECORDING

Proxy recording (XAVC + Mpeg2 on

same SxS card) is only available on

the F55 and only works when the

camera is recording 4K XAVC YPbPr.

PMW-F5 and PMW-F55 Quick Reference Guide.

CAN’T SELECT SStP SR (HDCAM

SR) CODEC

You can only select the SStP SR 422

codecs when the camera is in YPbPr

mode and you can only select SStP

444 when in RGB mode. You cannot

use SStP and RAW with the R5 at the

same time. (System – Base Setting

– Main Operation – YPbPr or RGB).

WAVEFORM OR HISTOGRAM NOT

WORKING

You can only use the cameras built in

waveform and histogram options

when you the Sub SDI is enabled.

(Video – Output – SDI SUB).

In addition the waveform will only

display when the LUT settings for the

VF output and Sub SDI output are the

same, either LUT ON for both or LUT

OFF for both. (Video – Monitor LUT

– Sub&HDMI PLUS Viewfinder)

NEED TO PERFORM AN “ALL

RESET” BUT DON’T HAVE ANY

VIEWFINDER OR MONITOR

OUTPUT.

From firmware V3 onwards you

should be able to turn the SDI SUB

display overlay ON/OFF from the side

panel by pressing the “CAMERA”

button one or two times to get to the

page where SDI(Sub)Disp is shown in

the bottom left corner.

Otherwise do the following:

Turn the camera off then back on.

Press the menu button once.

Slowly turn the Sel/Set knob 11 clicks

clockwise (10 clicks for earlier

firmware versions).

Press in the Sel/Set Knob.

Turn it a further 15 clicks clockwise.

Press the Sel/Set Knob twice.

Turn it anti clockwise one click.

Pess the Sel/Set knob.

The camera should reset.

You should then have text overlays

on the SUB HDSDI output.

PMW-F5 and PMW-F55 Quick Reference Guide.

S&Q, SLOW MOTION AND 2K SENSOR CROP:

CAN’T SELECT S&Q, MENU

OPTION GREYED OUT.

Camera must be set to YPbPr XAVC

or RAW to record S&Q. S&Q will not

work if the camera is set to RGB,

MPEG or SStP (System – Rec

Format – Format – XAVC). (System

– Base Setting – Main Operation –

YPbPr OR RAW).

For Raw only set (Recording – Rec

Control – Setting) to AXS.

CAN’T SELECT FRAME RATE

HIGHER THAN 60FPS IN S&Q

You must turn on HFR (Camera –

S&Q Motion –High Frame Rate –

Full Scan or Center Scan). Only

choose Full Frame if you have the

optional 2K Optical Low Pass filter

installed, otherwise use Center Scan

to avoid excessive aliasing. HFR

above 60fps is limited to 2K/HD.

MY HIGH SPEED FOOTAGE HAS A

LOT OF JAGGIES, RAINBOW

PATTERNS AND DOES NOT LOOK

GOOD.

See note above. Use Center Scan

mode to avoid aliasing and moiré

without the optional 2K Low Pass

Filter.

I CAN’T GO ABOVE 150 FPS IN HFR

S&Q

You can only go above 150fps if the

camera is set to a NTSC area

frequency, so 23.98, 24, 29.29 or

59.94fps must to be used for higher

frame rates. (System – System

Setting – Frequency)

I CAN’T GO ABOVE 180 FPS IN HFR

S&Q

Internal recordings on the SxS cards

are limited to 180fps. To go up to

240fps you must use the optional R5

raw recorder and be in the Cine EI

mode (System- Base Setting –

Shooting Mode – Cine EI PLUS

Main Operation – RAW). In addition

you may need to disable SXS

recording to get above 180fps.

(Recording – Rec Control – Setting

- AXS) use AXS only for 240fps on

the R5.

PMW-F5 and PMW-F55 Quick Reference Guide.

NO LUT”S WHEN SHOOTING S&Q

LUT operation is restricted/limited

when in S&Q. You can only have

LUT’s ON or all LUT’s OFF. There is

no option to split the LUT’s between

the internal recordings and SDI/HDMI

outputs. To turn on the LUT’s on the

HDSDI/HDMI you must turn ON the

Main&Internal LUT in the menu.

(Video – Monitor LUT –

Main&Internal). As an alternative you

can turn LUT’s OFF and use the

viewfinder High Contrast Mode which

adds a 709(800) look to the

viewfinder pictures only. (System –

Assignable Button – VF High)

HOW DO I SHOOT 2K RAW

INSTEAD OF 4K RAW

To shoot 2K raw instead of 4K set the

Imager Scan to 2K Full or 2K center.

Note that in order to get the very best

results from 2K Full you should install

the optional 2K optical low pass filter.

You SHOULD NOT use the 2K OLPF

in 2K Center Scan. (System – Base

Setting – Imager Scan Mode)

FLICKERING PICTURES IN HFR

Not really a camera issue, most likely

the frequency of the light sources in

your scene are not high enough.

Even a distant light source such as a

fluorescent light can introduce flicker

into a daylight scene. Try using

different high frequency lights or

lower the frame rate.

PMW-F5 and PMW-F55 Quick Reference Guide.

OTHER GOTCHA”S AND THINGS USEFUL TO KNOW:!

RESTORE MEDIA

Never perform a media restore on a

camera with a different firmware

version to the one that shot the

material. Otherwise this is a

completely safe to use function that

tidies up files on your media cards to

prevent or fix file corruption. If you get

a Restore Media message you should

always select “OK”. Do not try to

record further material on a card that

has given this message until a media

restore has been performed.

RESTORE MEDIA FAILS

Check that the write protect tab on

your media is not enabled.

EXECUTE APR

You will periodically see this message

at start up. Whenever possible cap

the lens or camera body to exclude

all light and select “OK”. The process

takes about 60 seconds and checks

for any hot or dark pixels and restores

the correct levels or maps them out.

PROBLEMS WITH AN AXS CARD

AXS cards should be re-formatted

periodically to maintain best

performance. Repeatedly formatting

an AXS card several times will clear

most AXS card issues.

FLICKER REDUCE/IMAGE FLICKER

Designed to reduce or eliminate

flicker from artificial lights when

shooting at a frame rate that does not

match the mains frequency of the

country. However is known to cause

problems when using the shutter.

Better to use the shutter set to a

frequency that is a multiple of the

mains frequency. E.g. 1/50, 1/100th

for 50hz countries (Europe, Asia) and

1/60, 1/120th for 60hz countries (USA,

Canada).

NOISE REDUCTION

The camera has internal noise

reduction but this ONLY works in

Custom Mode.

SLOG2 EXPOSURE LEVELS

Middle Grey = 32% 90% White = 59%

SLOG3 EXPOSURE LEVELS

Middle Grey = 41% 90% White = 61%

HOW TO TURN ON THE

WAVEFORM VECTORSCOPE OR

HISTOGRAM

These are tucked away in the (VF –

Display On/Off – Video Signal

Monitor) settings.

PMW-F5 and PMW-F55 Quick Reference Guide.

WHICH CODEC?

The camera has several codec

options. (System – Rec Format).

MPEG

The same as the XDCAM codec, 8

bit, 422 at 50Mb/s. Good for news,

quick turn-around, small file size. Max

Frame rate 29.97fps HD only.

(System – Rec Format).

XAVC

New Sony codec. Variable bit rate

depending on whether HD or 4K and

frame rate.

In F5/F55 always 10 bit 422 XAVC

Intra. Good for high quality

productions but with compact file

size. 100Mb/s at HD 24fps. Approx

300Mb/s at 4K 24fps. (System – Rec

Format).

SStP

SStP (Simple Studio Profile) is the

same codec as used for HDCAM SR

tape. Extremely high quality 422 or

444 codecs. HD only and large file

sizes. 220Mb/s for 422 and 440Mb/s

for 444. (System – Rec Format). 444

option only available when camera is

in RGB mode (System – Base

Setting – Main Operation). SStP can

not be used when using the R5 to

shoot Raw.

USE CONTENT BROWSER TO

OFFLOAD FILES BEFORE

ERASING CARD.

Always try to use Sony’s Content

Browser to copy material from your

SxS cards before erasing or

formatting the card. Content Browser

will check for media corruption when

a card is opened. If it detects any

issues it will instruct you to perform a

“Restore Media” by replacing the

card in the camera.

PMW-F5 and PMW-F55 Quick Reference Guide.

CINE EI MODE AND LUTS.

WHAT IS CINE EI MODE

In depth guide to CineEI here:

http://www.xdcam-

user.com/2013/12/cine-ei-mode-

when-recording-s-log23-and-raw-on-

the-f5-and-f55/

This is a mode that mimics film

camera operation. Recordings are

always done at the camera’s native

ISO (1250 on F55, 2000 on F5).

LUT’s are used to provide easier

monitoring. Gain in the form of an

“Exposure Index” is applied to the

LUT. To enable Cine EI (System –

Base Setting – Shooting Mode –

Cine EI).

TO TURN LUTS ON

LUT output must be enabled in order

to use the LUT’s. Normally with LUT’s

you should enable LUT’s for

Sub&HDMI and Viewfinder but NOT

for Main&Internal. (Video – Monitor

LUT – Sub&HDMI PLUS

Viewfinder). LUT’s can also be

controlled from the side panel by

pressing “camera” one or two times.

LUT OPTIONS ARE GREYED OUT

You must be in Cine EI mode.

See note in S&Q section of this

document about LUT’s when in S&Q.

Also when the F55 camera is

outputting 4K over 4x HDSDI LUT

operation is not possible.

LUT OR LOOK?

You can select between LUT’s and

LOOK’s. LUT”s are 1D LUT’s and

have a greater output range so will

show exposure more faithfully than

the LOOK’s when using a low EI.

LUT’s only change contrast, LOOKs

can change contrast, hue and colour.

(Video – Monitor LUT – Category).

Personally I prefer LUT’s for judging

exposure, but LOOK’s may be better

for estimating what the final

production may look like.

EXPOSING VIA LUT/LOOK

Exposure tools like

Waveform/Histogram/Zebras

measure the LUT/LOOK output, you

should expose using normal video

exposure levels when using a LUT.

PMW-F5 and PMW-F55 Quick Reference Guide.

WHICH LUT OR LOOK

This is down to personal preference.

Use the one that looks right to you or

gives the most pleasing image. There

is no best LUT/LOOK or right or

wrong LUT/LOOK. If unsure I

suggest LUT P1 709(800) as this

gives reliable and conventional 709

exposure levels.

EXPOSING WITHOUT LUT

Slog2 Middle Grey = 32% 90% White

= 59%. Slog3 Middle Grey = 41%

90% White = 61%

CANT CHOOSE USER 3D LUT

User 3D LUT’s are only available

when the camera is set to SGmaut3

or SGamut3.cine.

USING A LOW EI

Using an EI Lower than the native

ISO will result in a final image with

less noise and more shadow

information (as the actual recordings

will be brighter). However over-

exposure headroom is slightly

reduced.

USING A HIGH EI

Using an EI higher than the native

ISO will result in noisier pictures with

less shadow information but with

greater over exposure headroom (as

the actual recordings will be darker).

SLOG2 OR SLOG3

Both give the same dynamic range.

Slog2 may have some small benefits

for low EI shooting. But Slog3 is

easier to work with in post production

and uses more familiar exposure

levels. My recommendation is to use

Slog3. (System – Base Setting –

Color Space).

WHICH COLOR GAMUT WITH

SLOG3

With Slog3 you can choose between

S-Gamut3 and S-Gamut3.cine. S-

Gamut3 is an extremely large color

Gamut that can cause issues in some

post workflows. S-Gamut3.cine is a

smaller subset of S-Gamut3 that is

easier to work with and very close to

the DCI P3 color space used for

digital cinema. Check with your post

production people. Otherwise my

recommendation is to use S-

Gamut3.cine. (System – Base

Setting – Color Space).

PMW-F5 and PMW-F55 Quick Reference Guide.

CUSTOM MODE GAMMA CURVES AND MATRIX.

WHEN TO USE CUSTOM MODE

Custom mode is good for creating a

baked in look in camera or for

workflows where the amount of post

production will be minimal. Do also

consider as an alternative using

CineEI mode and baking in a look by

using a LUT with (Video – Monitor

LUT – Main&Internal) set to ON. The

LC-709 TypeA Look creates a very

pleasing image.

SELECTING CUSTOM MODE

Custom mode is selected in (System

– Base Setting – Shooting Mode –

Custom).

YPbPr or RGB

For most applications you will use

YPbPr. RGB would only be used

when recording with SStP 444 for

very high quality productions,

perhaps green screen work. (System

– Base Setting - Main Operation)

GAMMA CHOICE

The Gamma curve effects the

contrast and dynamic range of the

recordings. When the gamma curve

selected in the camera does not

match the gamma curve of the

monitor the contrast will not be

normal (typically flat and washed out).

Most TV’s and Monitors use a

gamma curve called REC-709 or

something very similar. The camera

has 5 different classes of gamma,

STD (standard) HG (Hypergamma),

User, Slog2 and Slog3. (Paint –

Gamma – Gamma Category).

STD GAMMAS

Limited dynamic range but closest

match to most display devices.

Standard gamma gain is x4.0, so a

gamma with higher gain will be

brighter, lower gain darker.

STD5 R709 is the standard gamma

for HD television.

STD1 DVW – similar to older Sony

SD cameras.

STD6 x5.0 – 5x gain gamma, often

known as BBC gamma.

(Paint – Gamma – Gamma Select).

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