Shoot 4K, UltraHD, 2K or HD with the Sony F5
The Sony F5 is a Super35 cinema camera and just like the Arri Alexa, it's the same format as those 35mm movie cameras that purred away in film studios for decades.
The F5 delivers a shallow depth of field that we've all seen in the cinemas for many years, the foreground is in focus the background is immediately out of focus; it's a very pleasing look. With an impressive fourteen stops of latitude, the whole picture is reproduced in a very natural way with lots of details in the dark areas with great highlight handling. If your final delivery requirement is standard HD, then the camera can be switched to HD, but that 4K sensor still provides spectacular super-sampled pictures with visibly superior texture and detail that ordinary HD cameras cannot touch.
Supporting the F5 camera
I’ve owned Arri and O’Connor matt boxes which I thought were the best, until UK based Bright Tangerine came along!
Today I have the VIV studio matte box from Bright Tangerine. The VIV is a lightweight carbon fibre hybrid that uses industry standard "Panavision" size filters. It’s a wing-away too, so lens changes quick and simple. I also have a Bright Tangerine Misfit Atom, which is an amazing ultra lightweight matte box. Matte boxes help bring contrast to the image by blocking out light flares.
No surprise that my choice of follow focus is a Bright Tangerine Revolvr ATOM Cine; the best follow focus I have ever used.
My principal tripod is a Sachtler carbon SpeedLock with an O’Connor 1030D ultimate fluid head. O'Connor heads are world famous for their ultra smooth feel, fluid movement and great balance. Chad O’Connor sold his first fluid heads to Walt Disney in 1949; today these fluid heads are industry standard in Hollywood.
Although lenses are one of the most important elements of a camera, just as important are great monitors.
I've been a fan of Small HD monitors since I first saw them at NAB years ago, you really have to see the image quality yourself to appreciate them.
7-inch On-camera field monitor (702 BRIGHT)
17-inch P3X 10-bit Reference Grade Monitor (1703-P3X)
Gamma & LOGs
For those of you who want great images straight-off-the-card, I use a highly optimized in-camera profile that will deliver wonderful results, so you don’t need to get caught up in post grading etc.
If you who want to shoot other S-Logs and Gammas, please read on.
Choosing the correct Gamma setting
Footage is recorded internally as XAVC, HDCAM SR and XDCAM HD or to an optional external recorder in Apple ProRes 422 HQ, ProRes or Avid DNxHD.
Cards are never erased until I get an all clear from clients.
My F5 Shooting kit
Also included is a comprehensive lighting and sound kit.