ULTIMATE SETUP WITH THE CAMERA SONY PXW FS7

1. BASIC KNOWLEDGES

• Sensor size Super 35mm, UHD 3840 x 2160, 4K (60fps), E-mount
• Native ISO 2000 EI (6 stops in highlight & 8 stops in shadow), 14 stops S-log
• XAVC-1 is high quality codec, recommend to choose, 10 bit, 4:2:2, can shoot in HD, UHD, 4K
• Suggesting combine with Carl Zeiss CP2, CP3

2. S-log PAINTING

• Recommend S-log 3/ S.Gammut3.cine (easy in post)
• S-log 3/ S.Gammut3.cine <<< S-log 2 & 3/ S.Gammut3 about color space range
• When shooting S-log, Zebra should set up about 70%
• Cine EI mode combine with MLUT 709 which should setup Zebra is normal
• Must choose MLUT P1 R709 (800%) in Assistant Gamma in SD2 & HDMI
• NOT SET MLUT FOR SDI1, because it will record into your card memory
• Can decrease EI by setting in LUT, recommend to choose 500 or 1000 EI for less noise (note it not change native ISO 2000 in S-log)

3. STANDARD PAINTING

• Standard mode for TV Broadcast while EI for professional project need color correction and grading in post
• Should choose UHD if your project was showing on TV, because of no crop frame size
• HG mode shooting like HDR, give you more details in shadow and highlight
• HG 1 & 2 (white clip 100%): Zebra 2 should choose 90–95%, best choice for ungraded TV Broadcast
• HG 3 & 4 & 7 & 8: choosing when you shoot another projects, it give you high contrast image (must set white clip about 109%)
• HG 1 & 3: medium dynamic range, low light, low contrast
• HG 3: indoor scenes
• HG 4: outdoor scenes and bright scenes
• About Matrix in Custom Mode, turn on and set F55 is da best, while FL light for removing green tint color

4. ANOTHER NOTES

• ProRes codec is not allow for slow motion, only in HD and give larger file size
• White clip setting is 105% for PAL and 108% for NTSC
• HFR is only used in HD, in the place has no flicker lights such as Tungsten, LED, HMI light with ballast (ALWAYS PLAYBACK AFTER SHOOTING FOR CHECKING)
• Avoid shooting in places have fluorescent and street light when you shooting HFR mode