FS5 - Sony confirms monitor/output cripple?

[Jack Zhang]

I'm afraid this even further solidifies my reasoning to not purchase this camera. A $5000 machine should not be selective of it's outputs like a DSLR. This completely cripples this camera for live 4K production with an on camera backup recording.

Even the cheaper PXW-Z100 doesn't do this.

[Keith Moreau]

My hope is that Sony will figure out a way to deal with this in an upcoming firmware update, particularly as dealers inform them that sales would be affected as potential customers find out about this limitation. Myself, I've kind of accepted it, after some tests and shoots, as there is still nothing out there that is as portable, ergonomic, and feature-rich as the FS5 right now.

From what I've just read on the internet, the upcoming firmware update will at least allow for info to be displayed on the FS5 internal screen(s) though the video might be black while recording 4K and outputting HDMI/SDI. This would probably work as in reality you don't often need the video from the internal screens while outputting to a monitor - however, it will be inconvenient if you want a client monitor or other remote output. You'll have to split the HDMI, etc.

I'll be discussing my experiences with the FS5 n an upcoming episode of my cinematography podcast, TechMove, www.techmove.com. -Keith

[Olof Ekbergh]

Originally Posted by Keith Moreau

My hope is that Sony will figure out a way to deal with this in an upcoming firmware update, particularly as dealers inform them that sales would be affected as potential customers find out about this limitation. Myself, I've kind of accepted it, after some tests and shoots, as there is still nothing out there that is as portable, ergonomic, and feature-rich as the FS5 right now.

From what I've just read on the internet, the upcoming firmware update will at least allow for info to be displayed on the FS5 internal screen(s) though the video might be black while recording 4K and outputting HDMI/SDI. This would probably work as in reality you don't often need the video from the internal screens while outputting to a monitor - however, it will be inconvenient if you want a client monitor or other remote output. You'll have to split the HDMI, etc.

I'll be discussing my experiences with the FS5 n an upcoming episode of my cinematography podcast, TechMove, www.techmove.com. -Keith

If you use an Odyssey, it has loop through SDI and HDMI.

[Steve Rosen]

Originally Posted by Keith Moreau

as there is still nothing out there that is as portable, ergonomic, and feature-rich as the FS5 right now. www.techmove.com. -Keith

Actually, as I stated in another thread, there is the JVC LS300. It is a cheaper, under-appreciated camera that, when properly exposed, creates excellent images in both 1080 (50mbps) and UHD (150mbps) - comparable to anything under 10 grand. However, as I also stated, it is a little on the flimsy side and doesn't inspire long-term confidence.

I had intended to get the FS5 as well, since I've owned Sonys and know they last forever (my soundman still has my old DSR300, and it works as well as the day I bought it)... but this issue is unacceptable. I use a Gratical almost exclusively for monitoring, but sometimes use the LCD so my partner can see the setup. This is truly a crippling defect - it's so unlike Sony in engineering design, but oh-so-like Sony in protection of their higher end offerings.

[Ray Lee]

I have read a bunch of great things about the JVC... in my case the vary ND and slow-motion won me over

If you are on the fence (and have the time) I would try and wait for the fs5 firmware upgrade, seems like getting an HD output for your Gratical while recoding UHD and keeping the built in LCD working could be an option without hurting the higher end Sony cams or asking to much form its processors, sounds like the issue is outputting UHD and recording UHD while using the LCD is the issue.

Sony did a few silly little things to the FS5 so it would be confused with the higher end cameras, no wave form (kinda makes SLOG3 a pain) and not including "hooks" on the LCD so we can't toss a aftermarket loupe on it for shoulder mounting or just using in bright sun. I guess Sony thinks we like a challenge because like the FS700 we loose the histogram in slow-motion.

[Keith Moreau]

Yes, the monitoring thing is distressing. I recently got a SmallHD 501 in your scenario which would replace the 'built in' but deactivated screen in 4K recording mode, then a loop through to my Gratical HD and onto other monitors if necessary. I have a couple of Odyssey's so eventual Raw output is eagerly anticipated. I'll look into your JVC recommendation, I like the codec bitrate, I wish Sony's was a bit higher, and I'm noticing for some reason my Premiere Pro setup struggles a bit more from the FS5's 4K 100mbs long GOP codec than my A7sII 100mbs long GOP, not sure why... maybe the MXF wrappers in the FS5? -Keith

If you are interested in audio Podcast all about Cinematography and Gear from a Unique Perspective,*check out TechMove, TechMove is the Podcast all about Digital Filmmaking, Gear, Mac Computers, and iOS Devices from a Unique Perspective!

[Steve Rosen]

Don't get me wrong - I'm not promoting the LS300 - in fact it took me three tries to get a good one (it took me two on the Pocket Camera)... But after settling in with the JVC, getting it set up right for shoulder use, I have really been won over - the after purchase 2.0 firmware added the Prime Zoom and histogram plus lower bit rate 4K and 2K options, which are nice in a pinch... And I have a set of Rokinon Cine MFTs that I like using on an S35 sensor (after two years with the S16 Pockets).

I originally wanted the Sony because of the size and weight, and Sony's rep for quality control (although I've never been a big fan of the out-of-the-box images I've seen). But I'll wait, as suggested, to see what shakes out with the 5... so far not so good in my opinion... If I do buy one I want the first one to be a keeper.