Some of the more commonly asked questions we get about the Sony NEX-FS100 revolve around the HDMI output. Obviously this is a topic many of you are curious about, because just this week we received a message from Juan Martinez, senior product manager at Sony. He wrote a brief (but informative) explanation on the topic that I thought I’d share with everyone. Below is an excerpt from his e-mail:

Signal output: RGB or 4:2:2?

The HDMI 1.4 port used on the FS100 outputs uncompressed 8-bit 4:2:2 or 8-bit RGB signals. Auto negotiation (EDID) takes place when an external recorder and FS100 are initially connected via HDMI and cable. During the EDID exchange, the FS100 and external recorder negotiate the highest quality signal common to the FS100 and recorder. From then on, the FS100 will output the negotiated signal. There is no menu in the camera to force a particular mode.

24P via HDMI

Hereto date; no HDMI hardware supports native 24p signals. The HDMI specification does not currently support native 24p. Instead, the HDMI specification instructs that pull-down¹ must be added to 24p signals. Even though the FS100 internally records native 24p, it simultaneously outputs a 60i signal with pull-down via HDMI. As a solution, Sony developed an original method to insert timecode and pull-down markers on the HDMI signal. Timecode allows external recorders to start/ stop and record camera generated time-code. The pull-down marker facilitates externally recording native 24p signals by removing pull-down during transcode.

Early on, Sony approached all major recorder manufactures to implement time-code and pull-down removal. Some recorders already record native 24p from the FS100’s HDMI.

Note¹: The pull-down process adds (repeats) fields in order to increase the frame rate from the 24fps to 30fps (60i).  The original 24p payload remains unchanged.

None of the recorders we’ve tested have implemented timecode via HDMI as of this writing, but we’re confident that firmware updates will add this feature shortly. The Convergent Design nanoFlash remains one of the few recorders available now that is capable of removing the 3:2 pulldown “on the fly,” so you will not need to do so in post. If you’re using a recorder that does not remove pull down as you record, Andy’s helpful article illustrates how simple the process can be.

AbelCine offers a variety of microphone choices to complement all of today’s Compact HD cameras. Video professionals often ask us which microphones they should pair with their cameras, so we put together this breakdown of popular options. Watch the video and read on for a rundown of the various makes and models available for all types of applications and camera builds.

…continue reading At the Bench: Audio for the Video Pro

This is an old topic of discussion, but it always seems to come up again and again. Some cameras, such as Sony’s FS100, will record in 1080 24p, but output only 1080 60i over HDMI. The FS100 does this to make its output compatible with monitors and other devices. The internal video recording is true 24p, but the output has gone through a 2:3 pull down process, whereby the 24p is converted into 60i. Because 24 frames do not evenly split into 60 interlaced fields, this process stretches 24p into 60i which does result in some obvious interlacing artifacts. Here is a quick illustration showing how four frames (from 24p) split into interlaced fields.

For anyone wishing to record the HDMI signal coming out of the FS100, this can be a major headache. Recorders such as the Ki Pro Mini or the HyperDeck Shuttle can easily record the video coming out, but unfortunately they cannot remove the 2:3 pull down to convert the video back into 24p. Here are a couple quick examples of how to remove the pull down and get good results.

…continue reading Simple Workflow for Removing 2:3 Pull Down

We’re often asked how to make the uniquely-shaped Sony NEX-FS100 production ready. While we’ve discussed several options in our FS100 Lenses and Accessories article, I thought it would be helpful to illustrate a few of the options with a short video. In addition to some new accessories, I also discuss the recently released HypderDeck Shuttle from BlackMagic Design and how it can be used as a field recorder.

Edit: I’ve received several questions about some of the gear in the video, so I wanted to expand here. I mounted the HyperDeck using dual lock on the Zacuto Zwiss Plate, which is attached to the Zacuto Mini Baseplate with the Manfrotto RC4 quick release. The HyperDeck has internal batteries, but I was using the Switronix PowerBase and Switronix P-Tap cable to power the HyperDeck, TV Logic VFM-056W, and FS100. I really like the new Shape Quick Handles which are super quick to change position and lock.

ARRI has released their Anamorphic De-squeeze download license for purchase. This eagerly anticipated license for the ALEXA will correct the “squeeze” effect that occurs when shooting with anamorphic lenses. With the license installed, ALEXA and ALEXA Plus cameras with the Software Update Packet (SUP) 4.0 can now readily accept anamorphic lenses with 1.3x or 2x magnification. Anamorphic lenses contain optical elements that capture a 2.39:1 image and squeeze it onto the 1.78:1 ALEXA imager. With the Anamorphic de-squeeze activated, the image appears “normal” in the camera for monitoring and playback.

The Anamorphic De-squeeze includes four modes for monitoring: De-squeeze off, De-squeeze 2.0x, De-squeeze 2.0x & magnify, and De-squeeze 1.3x.

De-squeeze 2x

2x Anamorphic lenses squeeze the image by a factor of two. In 2x, the de-squeezed full sensor image appears normal in the viewfinder and monitor with extra recording image area to the left and right of the 2.39 aspect ratio.

De-squeeze 2x & Magnify

In 2x & magnify mode, the 2x image is enlarged to practically fit the 2.39 aspect ratio, with little extra area on the left and right. This mode is for monitoring use only, as it does not work in Playback mode.

De-squeeze 1.3x

Developed specifically for the 16×9 sensor, the 1.3x anamorphic lenses squeeze the image by a factor of 1.3 instead of 2. Used with 1.3 lenses, the De-squeeze 1.3x mode will compensate for the squeeze and fit the 1.78:1 (16×9) sensor size.

For more information, download ARRI’s white paper on the Anamorphic De-squeeze option.

Sony’s RGB and S-Log upgrade option for the F3 is now shipping. At AbelCine, we’ve had the upgrade for some time; you may remember the video that we helped produce at NAB that showed off the camera’s S-Log capabilities. I get many questions about this new option and what exactly it changes in the camera, so I am putting together a three-part video series on the topic.

In the first part, I use our DSC Labs charts and Leader scope to show the dynamic range change when using S-Log and demonstrate what the different built-in Look Up Tables (LUTs) can do. Many people have also asked about shooting S-Log in 422 with an external recorder, so I talk about that as well.

In the next two parts of the video series, I will show S-Log in actual situations (outside, low light etc), and then show how to use Sony’s CVP File Editor to create some custom LUTs for the camera. Watch the video above, and stay tuned for the rest of the series. These topics and many others will also be covered in our Sony F3 class this month in NY, LA, and Chicago.
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You can find parts 2 and 3 of Andy’s S-Log and F3 series here:

Part 2: Exposure Index Mode
Part 3: Applications