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.

Features:
14 stops of latitude approaches that of traditional motion picture film
Extraordinary low-light sensitivity with a base rate of ISO 2000
Extremely low noise in the blacks
Continuous high speed shooting at up to 120fps; 5 times slower than real life
Time-lapse interval recording starting at 1 frame per second
PL Lens mount

 

F5 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.

Standard Gamma 5 (rec709)
For footage to be used as shot in camera; no time to grade.
Standard Gamma gives you a broadcast safe tv signal without grading.
Rec709 is default HDTV standard gamma.

HyperGamma
Is intended for minimal colour correction and can be graded in-house using popular edit systems. With 10 stop dynamic latitude, hypergamma is Sony's halfway house between Standard Gamma and S-log. Hypergamma captures much more detail in light and dark shades than rec709.

S-Log
S-Log exploits the F5's full sensor with it's 14-stops dynamic latitude for the widest choice in the grade. S-Log footage is normally graded by someone who has the tools and skills ‘most likely a professional colorist’ in a dedicated grading suite.

F5 Lenses:

20-120mm Fujinon Cabrio Cine Zoom
11-16mm Tokina Ultra-Wide Angle Cine Zoom
24mm Laowa 2:1 Macro cine probe lens


The Sony FS5 goes places my bigger F5 can't

Described a grab and shoot camera, it captures HD up to Ultra 4K (3840 x 2160) the standard used for shooting 4K television.

The Sony FS5 camera has the same sensor as the Sony F5 camera, so gives a nice film like shallow depth of focus.
The FS5 is significantly smaller and lighter than the F5.
I use optically colour matched Fujinon Cine lenses on both F5 and FS5 cameras, so images intercut seamlessly.

FS5 Lenses:

Fujinon MK 18-55mm Cine zoom
Sony 10-18mm G OSS
Helios 58mm Vintage flare lens
Laowa 24mm 2:1 Macro cine probe lens


4K Video in a full frame format
Features a new back-illuminated 24.2-megapixel Exmor R sensor for shooting at high ISO without noise concerns.

The camera captures 6K footage from the full sensor, data is then condensed into 4K movies at bitrates as high as 100 Mbps. Shoots S-Log3 with up to 14 stops dynamic range and slow motion up to 120 fps in full HD. Camera has built in 5-axis stabilisation.

Full frame lenses:

Voigtlander 15mm Super Wide Helliar Mk III
Zeiss Batis 25mm
Zeiss 24-105mm Sonnar OSS
Sony 70-300mm G OSS
Laowa 24mm 2:1 Macro cine probe lens
Helios 58mm, Vintage flare lens

 


 

Cine Lenses

A cine lens has to capture frames that may be projected onto a 50-foot wide screen. That's why "top quality" cine lenses normally exceed the resolution of the camera sensor. PL Mount Cine Lenses are a big investment, but I believe they will outlast the cameras I own in the future. All of these lenses are 4K +

 

   20-120mm Fujinon Cabrio Cine Zoom, T2.9 ( S35, Arri PL Mount )
   
 

The new Fujinon Cabrio 20-120mm is a Super35 wide to medium telephoto PL-mount cine zoom lens.

The Cabrio provides a sharp prime lens feel, images have a good filmic quality, creamy smooth with good contrast.

It brings 4K to the whole picture, right out to the edges and corners; at every focal length. The Ks go way beyond 4K in the Cabrio’s centre zone. Comes with Chrosziel fluid zoom drive.


Features:

  • Constant T3.5 aperture throughout the zoom range
  • 9 iris blades for attractive bokeh
  • Minimal focus breathing
  • Parfocal
  • 200° focus barrel rotation and 120° zoom rotation
  • Macro focus function
  • Detachable ENG style zoom control
  • 0.8 Pitch gear focus, iris, and zoom rings
   
 
   18-55mm & 50-135mm Fujinon MK Cine Zooms, T2.9 ( S35, E-Mount )
   
 

The Fujinon MK 18-55mm and 50-135mm are ultra-compact, lightweight cine zooms. They both have outstanding optical performance and low distortion with T2.9 speed across the entire zoom range.

Features:

  • Designed for Super 35 sensors
  • Parfocal - Holds focus over zoom range
  • T2.9 constant aperture throughout zoom range
  • Excellent edge-to-edge optical performance
  • 9-Blade aperture for pleasing bokeh
  • 200° Focus rotation and macro mode
  • Colour matched to Fujinon cabrio range
  • 3 x Standard 0.8 MOD Gears
  • Ultra-compact and less than 1kg

 

   
 
  11-16mm Tokina Ultra-Wide Angle Cine Zoom, T3 ( S35, Arri PL Mount )
   
 

The Tokina Cinema 11-16mm is a Super35 PL-mount cine zoom lens that delivers stunning ultra-wide angle perspectives.

Centre resolution is way beyond 4K and edge-to-edge sharpness is excellent; it has the optical quality of lenses that cost 10 times as much.

Features:

  • T3.0 aperture throughout the zoom range
  • 9-Blade aperture iris
  • Parfocal
  • 166° focus barrel rotation with minimal to no focus breathing
  • 0.8 Pitch gear focus, iris, and zoom rings
   
 
  Laowa 24mm Probe Lens, T14  ( S35 / Full Frame, Arri PL or E-Mount )
   
 

The Laowa Probe Lenses allows creative lens placement by extending the lens forward of the camera body by 40cm. Extending the lens from the camera gives interesting perspectives normally unattainable when a lens is attached to a camera in the traditional way.

The 24mm lens preserves the wide-angle perspective and gives a deeper depth of field than traditional macro lenses, more is in focus adding context to a scene.

Probe Lenses also known as ‘Relay Borescopes’ are typically used for special optical tasks such as macro/micro visual effects, miniatures and wildlife filming.

Used with Rhino EVO Motion Control and wireless Remote Air 4 lens control.

2:1 Double life-size magnification, 85° field of view, Close focus of 2cm, waterproof front barrel.

 

 

 
  25mm Veydra Mini Prime, T2.2 (S35, FZ or E-Mount)
   
 

I new these lenses were something special when I saw them in a Panavision rental catalogue.

 

Veydra Mini Primes are true cine lenses with a close focus of just 10-inches.

Colour rendition is outstanding and image quality rivals much more expensive cinema lenses. These lenses optically colour match incredibly well with my Cabrio 20-120mm and Fujinon MK18-55mm cine zooms.

It’s a completely different feeling an audience gets watching someone shot close range on a 25mm, apposed to the feeling they get when shot in a similar frame size on a 85mm from a distance; the 25mm is within the moment.

Most movies are predominately shot with short focal lengths around 25mm. For general interest, here are the favourite focal lengths of a few directors:

21mm Spielberg, Tim Burton
25mm Orson Wells, Scorsese
27mm Coen Brothers
28mm Terry Gilliam (early work) 14mm (later work)

 

Other lenses

   Classic ENG Zoom Lenses, Canon J9 & J20

 

 

Sony's B4 to FZ Lens adaptor (LA-FZB1) brings my old 2/3-inch ENG zooms back to life. Fitted to a Sony F5 camera, this lens adaptor gives me the same ‘field of view’ you would expect from a traditional 2/3-inch lens on a 2/3-inch camera sensor, without cropping or loss of angle of view; a super wide zoom lens stays super wide.

The Canon J9 and J20 weren’t designed as HD lenses; HDTV wasn’t around in those days.
It’s true these lenses don’t have the stunning edge-to-edge sharpness of my high-end cine lenses, but they can be used to achieve another look in my palette; they help to de-digitize the image and offset the hard edge of new breed super sharp cameras.

Lets face it, a natural look is very pleasing and that’s why lens filter manufacturers produce whole sets of various diffusion filters to do just that. These lenses were designed as very high-resolution top end lenses and cost an absolute fortune in the day. I own Cabrio and MK cine zooms too, but the personality of these good old ENG zooms gives me further creative options with my F5 camera.

B4 ENG lens kit:
B4 to FZ Lens adaptor (Sony LA-FZB1)
Canon J9a      5.2-47mm  S35 field of view equivalent 15 – 141mm
Canon J20a    8-160mm   S35 field of view equivalent 24 – 480mm

 
 
 
 40mm Voigtlander Nokton f/1.2, (Full-frame E-Mount)
   
  The world’s first full-frame 40mm lens with a F1.2 aperture
 

The NOKTON 40mm F1.2 is a high-speed manual focus lens optimized for the imaging sensors of Sony full-frame mirrorless cameras. My Sony a7 III camera has in-body stabilisation, so this lens is a great combo for low light street/venue filming.

 



 
 15mm Voigtlander Super-wide Heliar Aspherical IlI, f/4.5 (Full-fram E-Mount)
   
  Voigtländer is one of the oldest optic manufactures in the industry
 

The Voigtlander 15mm is a completely manual ultra-wide-angle prime lens for Sony Alpha 35mm full-frame mirrorless cameras. It gives super wide view of 110 degrees on a 35mm full-frame sensor. Works beautifully with my Sony a7 III camera.



 
  58mm Helios vinatge flare lens, f/2 (Full-frame, E-Mount)
   
  Made in U.S.S.R this Helios 44-2 58mm lens is a copy of the famous Carl Zeiss Biotar 58mm.
 

Apparently when the Russians occupied East Germany, some of them went into the Zeiss factory and stole the Biotar design to make this amazing lens.

Helios 44-2 lenses are known for their impressionistic bokeh that swirls in a circular pattern.
It has a fast f/2 aperture and captures rich vibrant images with crazy lens flare when a light source hits the lens.

Russian glass never goes out of style.


 

Filters

   

Panavision 4x5.65"

Schneider NDs

 

Schneider Grads

 

Tiffen Diffusion

 

Gold FX

 

Tiffen Black ProMists

 

Tiffen Ultra Pol Polariser - Linear
   

Round 138mm

Schneider Tru-Pol Polariser - Circular

 

Schneider +1 Split-Field Diopter Lens

 

Schneider +2 Split-Field Diopter Lens

 

 

Round 77mm

Tiffen Polariser - Circular

 

Hoya NDx16

 

 

 


Camera support

 

EyeDirect
The Eye Direct System allows a person to look directly into the lens of the camera and see the interviewer at the same time. Direct address makes viewers feel a more intimate connection to contributors who seem to be confiding in them ‘directly’ instead of looking off-camera at the interviewer/producer.

Motion control
The Rhino EVO Motion and Arc lets me automate both linear and pan motions on 42-inch steel or 24-inch carbon rails. Works beautifully with my Laowa Macro Cine Probe lens.

Easyrig 5 Vario
Easyrig relieves strain on back, neck and shoulders. It’s not a camera stabiliser, but footage looks like a blend between steadicam and a hand held look. It’s perfectly suited to handheld reality shooting, documentary or music promos.

Tripods
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. A Sachtler FSB 8 fluid head with carbon SpeedLock legs has also served me well too for many years; it’s a great ‘go to’ when I travel light. My Miller Solo tripod is the perfect support for sliders; extreme height to very low in seconds.

Matte boxes
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.

Follow focus
No surprise that my choice of follow focus is also a Bright Tangerine Revolvr ATOM Cine; the best follow focus I have ever used.

Wireless follow focus
I have the PD Movie Remote Air 4 focus system that works up to 100m. A wheel on the hand controller, or a dedicated iPhone APP controls focus.

Light meter
My choice of light meter is the Sekonic L-858D Speedmaster.


 

Daylight viewable monitors

 

 

Although lenses are one of the most important elements of a camera, just as important are monitors.

17-inch P3X 10-bit Reference Grade Monitor (1703-P3X)

The Small HD PX3 is a 17-inch high precision monitor with incredible colour accuracy and wide colour gamut display covering 100% of the DCI-P3 colour space for cinema, which is well beyond the rec709 broadcast space.
Mains or battery powered, C-stand mountable, waveform, vecterscope, HDR preview, 3D LUTs, frame guides and 8 audiometers.

7-inch On-camera field monitor (702 BRIGHT)

The 702 Bright is a new breed of on-camera, daylight viewable, full HD displays from Small HD.
Features; waveform, peeking, zebra, 3D LUTs, frame guides, audio meters and more.
A Bright Tangerine Titan arm holds it rock steady on cameras.

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.
The Small HD P3X is the best monitor I have ever owned and trust.