Sony RAW Viewer Major Release With Significant New Enhancements & Features:

Sony RAW Viewer Major Release With Significant New Enhancements & Features::
Sony have release a new version of their RAW Viewer. It is considered to be a major release with significant new enhancements.
The Sony RAW Viewer is a dedicated application for viewing and basic colour grading of Sony RAW files shot by F65, PMW-F55 / F5 cameras and the NEX-FS700 camcorder with the optional AXS-R5 RAW recorder.

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Sony OLED Calibration

Sony OLED Calibration:
Some time ago, I did a blog post on how to correctly white balance your monitor and how essential this is to creating a calibrated viewing environment. I would go on to say that this is the MOST important component in any set to post workflow as color correction data generated on monitors that aren't displaying 100% chroma free white, is in fact completely useless.
So how does one determine if their monitor is displaying white that is truly white?

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Sony Expands 4K Codec to Ultra HD Consumer Products

Sony Expands 4K Codec to Ultra HD Consumer Products:


To date, Sony says that over 60 manufacturers have requested a license for XAVC, with over 31 different UHD products which will offer XAVC part of their supported codec lineup.   Those manufacturers include the usual suspects -  Blackmagic, Apple and Adobe, but there’s also Avid, Grass Valley, Matrox and a host of others which provide both consumer grade and professional hardware and software solutions.

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How to Import F5/F55 Footage in FCP, Avid and Premiere

How to Import F5/F55 Footage in FCP, Avid and Premiere:

With every new camera, come many new questions about workflow. The term “workflow” can be fairly broad, but today I am looking at importing Sony F5/F55 footage into various non-linear editing systems (NLEs). Both the F5 & F55 can record in MPEG2 (XDCAM), XAVC and HDCAM SR formats internally. With the addition of the AXS-R5 recorder, they can also record in Sony Raw. This article is focused on MPEG2 and XAVC, but be sure to keep an eye out for future blogs on working with Sony Raw and HDCAM SR. The F5 & F55 workflows are similar to that of the F3 and XDCAM EX cameras, but with some significant changes. Below, I outline how to ingest footage onto a hard drive and how to import into Avid Media Composer 6.5, Final Cut Pro X, Final Cut Pro 7 and Premiere CS6. Keep reading for a brief how-to on each process.

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The ARRI Alexa RED EPIC Sony F55 Sensor Test

The ARRI Alexa RED EPIC Sony F55 Sensor Test: : Cinescopophilia:
What does an ARRI Alexa, RED Epic, and a Sony F55 camera have in common? Sensors… And Allstar the gear makers who gave us the A-Mount System and the tripod / shoulder base rig for cine compact cameras have bundled together the ARRI Alexa, RED EPIC, and Sony F55 cameras for a little sensor test.

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Sony CineAlta F5 and F55 4K Cameras Hands On Video Tour:

Sony CineAlta F5 and F55 4K Cameras Hands On Video Tour::

Richard Lewis, Cinematography Product Specialist, provides a detailed, hands-on tour of the new Sony CineAlta F5 and F55 4K cameras. All the key features, including the flexible modular structure, multiple recording formats, menu controls and important accessories are shown. The 18 minute video also demonstrates recording on SxS Pro+ and AXSM memory card, including RAW... More...

Download: F65RAW Plug-in for Avid

Sony Creative Software - Download: F65RAW Plug-in for Avid:
This AMA plug-in provides supporting F65RAW MXF files in Avid MediaComposer and Symphony products, allowing viewing and editing capability.

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S-Log and the F3 – Part 5: 3D Look Up Tables

S-Log and the F3 – Part 5: 3D Look Up Tables | CineTechnica:
In this last part of my Sony F3 and S-log series, I go over how to generate 3D LUTs that can be used with external LUT boxes and in post. In order to do this I use an HD Link Pro from BlackMagic Design and, to control it, a program called LinkColor. In my last video, I generated several 1D LUTs with Sony’s CVP File Editor, and then converted them to 3D LUTs for use with LinkColor. I call these simple 3D LUTs “DeLog Curves,” and you can download them here. Finally, I created several 3D LUTs and CDLs that are matched to my F3 Scene files, which you can download here.

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Sony F3 Signal Routing 101

Sony F3 Signal Routing 101:

While it may seem like a straightforward topic, the Sony PMW-F3 actually has several video routing options, which I’m often asked about during our F3 workshops. Between the SDI, HDMI and dual link SDI ports, the various options can be confusing at first. Hopefully, this guide will help illustrate some of the different scenarios you might find yourself in and how to best configure the output options on your F3.

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Sony: 4K isn't just about the resolution

Sony: 4K isn't just about the resolution:

With M. Night Shyamalan already shooting his next movie -- After Earth -- on the F65 4K camera, Sony's PR machine is going all out to assuage remaining doubters in the film industry. One of the more curious aspects of the awareness campaign is that it doesn't focus solely on the exorbitant resolution -- in fact, it gives almost equal weight to other visual promises that Sony hopes will persuade producers, directors and cinematographers to make the leap before anyone else does.

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Updates to Sony BVM Monitors and New Calibration Software

Updates to Sony BVM Monitors and New Calibration Software:
 
Sony has been working hard on their monitor line and this week they have announced some nice updates to their BVM monitors.

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Sony NEX-FS700 slow motion camera announced!

Sony NEX-FS700 slow motion camera announced!:

This NAB gonna be huge! Sony just announced the Sony NEX-FS700, the big brother of the Sony FS100! The camera looks a bit like the Sony FS100, but it has some improvements, as integrated ND filters and a SDI output! The camera will cost below $10,000 and there will be a 4K upgrade in the future!
The most amazing thing of this camera is the slow motion capability! It can shoot up to 240fps for 8 seconds in Full HD, 120fps for 16 seconds in 1080p and up to 1480fps 9 seconds in 1080i. That’s unbelievable!!!




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New 4K Sony FS700 To Premiere At NAB 2012.

New 4K Sony FS700 To Premiere At NAB 2012.:

It looks like Sony may be stepping up their game to a 4K platform. Rumor has it that Sony will announce a new FS camera at NAB 2012. The new Sony FS700 will have all the bells and whistles with the addition of 4K capability. All of this sexiness with a sub $8K price tag could make this the next camera for me. Here is a rip from the EOS HD post. I only hope this is not some sort of April fools day gag.

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Sony’s 8K PMW-F7 (£16,000)

Sony’s 8K PMW-F7 (£16,000):
There are rumours of a Sony 4K camcorder called the FS700 flying all over the net and some interesting miss information as well, I have it from a source deep in the heart of Sony itself that we are about to witness not only a 4K FS700 but an 8K PMW-F7. Sony have lost a...


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Sony Updates SR-PC4 and F65Viewer

Sony Updates SR-PC4 and F65Viewer:

Sony recently released software version 1.1 for the SR-PC4 interface box for SRMemory cards and a new beta version of the F65RAW Viewer application.

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Sony SRMemory Workflows

Sony SRMemory Workflows:

With the Sony F65 and the SR-R1 recorder come a new set of workflow processes. At AbelCine, we are always trying to stay ahead of the curve, even as technologies such as these are evolving. Sony’s F65 and the SR-R1 both record to SRMemory cards, which is high-speed memory that enables recording of F65RAW video at up to 120 fps. To work with these cards, Sony has released the SR-PC4 and SRPC-5 transfers stations, which present a unique way of playing back and downloading content.


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S-Log and the Sony F3: Application

S-Log and the Sony F3: Application:
In the third part of my S-Log series I took the Sony F3 outside on a nice bright day to show what S-Log can do. Jeff Lee and I headed up to the roof of AbelCine and found some shade to stand in, this allowed us to show the most contrast possible. I shot the blog in S-Log as well as in the standard video modes with the AbelRange profile that I created earlier this year. This way I can show just what S-Log enables in the camera. All the clips in the video, except the last one, were recorded to the Gemini 4:4:4 recorder. The Gemini records in uncompressed DPX stacks so nothing was lost along the way. The last shot was S-Log out to a PIX240 recorder in ProRes422 HQ, this was enabled with the new F3 1.31 firmware from Sony. I graded all of the shots in DaVinci Resolve Lite. The difference between S-Log and my range profile can be slight at times, but pay close attention to highlight areas, especially the skin highlights. Thanks to Isaac Kiener from sales for helping out. Stay tuned for the last part of the series on look up tables in the camera.

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Sony PVM OLED. The Good, The Bad, & The Ugly. - Part 3

Sony PVM OLED. The Good, The Bad, & The Ugly. - Part 3:
Part 3 - The Ugly.
Okay so there is one really negative point to these new OLED displays, and thats the poor, poor, poor viewing angle. Now not in the traditional way as OLED boasts great viewing angles. However you have about 40º each way off axis before the monitor’s start to band with a blue hue. Now if you are using these for client approval you have to set the PVM(s) up so precisely that both the operator and client can view without impedance.

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Canon C300 C-Log and Sony F3 S-Log comparison

Canon C300 C-Log and Sony F3 S-Log comparison:

I’ve just got the Canon C300 for one week and I want to share my thoughts with you. Lots of people asked me if I can do a comparison between Canon C300 C-Log Picture Profile and Sony F3 S-Log.


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Sony PVM OLED. The Good, The Bad, & The Ugly. - Part 2

Sony PVM OLED. The Good, The Bad, & The Ugly. - Part 2:
Part 2 - The Bad.
As stated earlier, testing using 10-bit uncompressed quicktime material out of a Blackmagic Decklink Extreme*, the PVM suffers with interlacing issues with upper and lower field material. Like most broadcast LCD off the shelf monitors the PVM cannot handle true interlacing and suffers with minor moire and aliasing. Take fields off and the problem is resolved. This is also true for HD interlaced material, as acquisition is usually shot progressive this isn’t an issue. Though when it comes to broadcast majority of houses will ask for 50i which could make QC a little interesting if using the PVM.

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