Sony PXW-FS7 Manual
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Sony PXW-FS7 Manual

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Sony PXW-FS7 Guide
October 2016 v4
1

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Summary of Contents for Sony PXW-FS7

  • Page 1 Sony PXW-FS7 Guide October 2016 v4...
  • Page 2 Contents Page 3 – Layout and Buttons (Left) Page 4 – Layout back and lens Page 5 – Layout and Buttons (Viewfinder, grip remote control and eye piece) Page 6 – Attaching the Eye Piece Page 7 – How to attach the grip remote control Page 8 –...

  • Page 3: Layout And Buttons (Left

    Layout and Buttons (Left) Slow & Quick Motion Button to open QXD (Page 28) card slots ND Filter Start & Stop Record Audio controls Headphone socket Rotate to engage (Page 12) (Page 29) On/Off Switch Focus Controls Gain Switch (Page 21) Menu and selection White Balance (Page 20) October 2016 v4...
  • Page 4 Layout and Buttons (Back) XLR Inputs Battery Release SDI and HDMI outputs Remote grip input Lens Zoom Ring Powered Zoom Focus Ring Iris Ring (Page 21) Manual to power zoom. Optical steady shot on and off October 2016 v4...

  • Page 5: Layout And Buttons (Viewfinder, Grip Remote Control And Eye Piece

    Layout and Buttons (Viewfinder, grip remote control and eye piece) October 2016 v4...

  • Page 6: Attaching The Eye Piece

    Attaching the Eye Piece October 2016 v4...
  • Page 7 How to attach and adjust the grip remote control October 2016 v4...

  • Page 8: Resetting The Camera

    Resetting the Camera It is good practice to reset the camera when you get it so all the setting are correct. Menu > System > All reset (Execute when prompt to) Follow the on screen instructions. Do look at setting the clock to the correct time Formatting (initialising) the Cards Make sure before you start filming that you format the cards so you do not have other people’s footage.
  • Page 9 Shooting Mode Custom Mode (Easiest) • Conventional video camera operation, what you see is what is recorded (Page 13) CineEI Mode (Advance) • Film style shooting mode, flat, low contrast recording with a wide dynamic range. Contains lots of information to then grade in post-production. •...

  • Page 10: Colour Space

    To set mode Menu > Base Setting > Shooting Mode > Custom / CineEI (Execute when prompt to) Colour Space In custom mode this is greyed out. But in CineEI mode you have the following options. S-Gamut/Slog2 S-Gamut3.Cine/Slog3 S-Gamut3/Slog3 S-Log 2 and 3 have the same dynamic and contrast range. The difference is with the colour space where these capture the most colour.

  • Page 11: Setting The Codec

    Setting the Codec All the codec that works with Avid so depending on what you are doing. To select the codec Menu > System > Codec > Select your codec (Execute when prompt to) MPEG HD422 XAVC-I XAVC – L •...

  • Page 12: Basic Audio

    Basic Audio Switching each Adjustment for the Changing the input from audio levels channel from line, Mic & Mic +48v XLR Inputs 1 & 2 manual to automatic Phantom power To control inputs 1 and 2 there are external controls on the opposite side to adjust levels. You want to be filling around 80% of the metre There is a mic on the body for ambient sound. The internal levels are only controlled in auto there are no manual settings.

  • Page 13: Custom Mode

    Custom Mode Conventional, simple and fast work flow. What you see is what you get with limited range of in- camera picture adjustment. Factory gamma setting are Rec709 (This is the standard for all TV’s and monitors, it is best to stay on this setting).
  • Page 14 What each gamma looks like October 2016 v4...
  • Page 15 Normal 709 gamma middle grey is exposed at 42%. These are lower to capture a greater dynamic range to create room at the top and handles highlight roll off and over exposure. Do a small colour correction to make the image pop. October 2016 v4...

  • Page 16: Which Hyper Gamma To Use

    Which hyper gamma to use? For a high contrast image look to use HG2 4600G30 (This is suitable for TV broadcast) HG4 4609G33 HG7 8009G40 HG8 8009G33 For medium contrast and low light images HG1 3250G36 (This is suitable for TV broadcast) HG3 3259G40 This is what is recommended to use For TV broadcast...
  • Page 17 Custom Mode Matrix Settings A matrix is how what comes in to the camera is converted to what comes out, e.g. A studio matrix might convert a signal from a camera to a composite or component output. The same could be aid for camera sensor, the RGB information from a sensor might be converted to a log space or rec709.

  • Page 18: What Each Matrix Looks Like

    What each matrix looks like October 2016 v4...

  • Page 19: Multi Matrix

    Multi Matrix This allows you to adjust individual colours in the camera. Menu > Paint > Multi Matrix > Settings > On Centre the colour in the middle of the frame and use colour detection. You can manually select colours within the multi matrix under axis option where R = Red, Y = Yellow and B = Blue. You can now adjust the Hue (tint) and saturation (intensity) within the multi matrix menu.

  • Page 20: White Balance

    White Balance The white balance is very similar to most cameras, where you will set the switch to either A or B then holding a white card in front of the camera in the lighting conditions you will be filming in. Then press and hold the WB set button on the front by the lens and the screen will tell you when it has finished.

  • Page 21: Focus Controls And Aids

    Focus Controls and Aids There is an auto focus switch on the side. Auto focus only works with the correct lens. The focus ring can be in 2 positions; in the forward position the lens is in AF/MF mode with the switch on the main body being in the correct position.

  • Page 22: Exposure Tools

    Focus Aids Continued Focus Assist indicator As the shot comes into focus the Frame your object you want in focus inside or near the white box graph will start to fill from the right but will never go all the way. Aim for about ½ to 2/3 full for a sharp image. Exposure Tools You have the standard exposure tools of zebras, waveform and histograms that are all set and controlled under the VF page of the menu. In custom mode everything is measure of what you are recording. In CineEI the zebras measure the view finder image and the waveform and histograms measure the SDI 2 signal.
  • Page 23 Exposure Tools Continued See that Zebra 1 the lines are \\\\\\\\ highest point on the left and lowest on the right. See that Zebra 2 the lines are //////// highest point on the right and lowest on the left. White clip default setting is 105% so the camera can record anything above 100%, so having zebra 2 set to 100% it indicates that last bit of range you have available when using the standard rec709 gamma.

  • Page 24: Histograms

    Histograms Histograms measure blacks on the left, whites on the right and the height shows the level. A good image has an even spread with a bump in the middle for skin tones. To turn on the histograms, it is in the VF menu under displays on/off.

  • Page 25: Waveforms

    Histograms continued Waveforms To turn on the waveform, it is in the VF menu under displays on/off. This is important to have shown specially when using hyper gammas (Page 12) to expose middle grey at the correct level. October 2016 v4...
  • Page 26 Below are examples of where highlights, shadows and skin tones should fall within the waveform using rec709 gamma. October 2016 v4...
  • Page 27 Waveforms Continued October 2016 v4...

  • Page 28: Slow And Quick Motion

    Slow and Quick Motion Slow and quick motion (S&Q) increases the recording frame rate of the camera. Standard frame rate is 25 frames per second (FPS). This only works in progressive. The camera must in using the XAVC-I codec and the maximum frame rate is 150fps. Press the S&Q button on the left hand side of the camera to enable S&Q mode.

  • Page 29: Nd Filters

    ND Filters There is a silver dial on the front left that controls the ND filters with the options of clear, ¼ = 2 stops, 1/16 = 4 stops and 1/64 = 6 stops. What is a stop using ISO? Doubling the ISO number gives an increase of 1 stop, while halving gives it a decrease of 1 stop.

  • Page 30: Gain

    Gain Gain is an electronic amplification of the video signal. This means that the signal is boosted electronically, adding more voltage to the pixels on your imager (CCD or CMOS) causing them to get amplify their intensity and therefore brighten your image. Gain is measured in db with the following values and what they mean in terms of how many stops of light do...

  • Page 31: Gain To Iso Conversion Chart

    Gain to ISO conversion chart Gain db Level ISO Rating 0 db 500 ISO +3 db 800 ISO +6 db 1000 ISO +9 db 1600 ISO +12 db 2000 ISO +15 db 3200 ISO +18 db 4000 ISO +21 db 6400 ISO +24 db 8000 ISO...
  • Page 32 CineEI Mode This mode captures everything the camera can see. When viewed on a normal monitor the images look flat and washed out. All images shot using CineEI will need to be graded in post. When changing the base setting to go from custom to CineEI (page 9) you will also need to set the colour space as well (page 10).
  • Page 33 Monitor Look Up Table (MLUT) October 2016 v4...

  • Page 34: High And Low Key Function

    High and Low Key Functions The MLUT cannot show you everything that the camera is seeing, the camera is recording 14 stops of dynamic range where the MLUT can only show you a small amount of that. The high and low key function can help with that but it must be assigned to a button. To assign a button go to Menu >...

  • Page 35: Cineei And Exposure Index

    By going through this cycle you can see the whole of the dynamic range that the camera is recording. Press the assign button 2 a third time and will return to normal. CineEI and Exposure index EI = Exposure Index, this allows you to rate the cameras ISO to alter the midpoint of the dynamic rate.

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