Sony PMW-F5 User manual

PMW-F5 and PMW-F55 Quick Reference Guide.
Copyright Alister Chapman 2014. www.xdcam-user.com
For On-Line Help See: http://community.sony.com/t5/F5-F55/bd-p/large-
sensor-camera-F5-F55
For Tutorials and Tips see: http://www.xdcam-user.com.
This document has been prepared without the direct support of Sony. I have
tried to make it as accurate as possible, but cannot guarantee that there may
not be some errors or omissions. Comments and suggestions are welcome
via www.xdcam-user.com.
You can download the latest version from here:
http://www.xdcam-user.com/2014/04/pmw-f5-and-pmw-f55-quick-reference-
guide/
HOW TO USE THE DOCUMENT:
Anything in italics, like this (System – Base Settings) indicates the menu
page or menu setting that you may need to change or where to look for the
settings mentioned in the text.
This document is copyright, but please feel free to copy and distribute it
without modification, keeping all copyright notices etc for not-for-profit
purposes, i.e.– you may not sell this document, but you can give it away as a
free hand-out.
There are several sections:
HELP SOMETHINGS NOT
WORKING.
If the camera doesn’t work as
expected, crashes won’t power up or
you can’t turn something on, check in
this section.
S&Q, SLOW MOTION AND CENTER
CROP.
Anything to do with S&Q motion
check here. Also information on
shooting 2K raw or using the camera
in Center Crop or Full Frame Modes.
OTHER GOTCHAS AND USEFULL
THINGS TO KNOW
Problems and issues that don’t live in
any of the other sections including
media issues, APR and Noise
Reduction.
CINE EI MODE AND LUTS
Information about using the Cine EI
Mode and LUT’s
CUSTOM MODE.
Information about using Custom
mode with some notes on Gamma
Matrix and other paint settings.
This revision: V8 5th July 2014 Firmware V4.1

PMW-F5 and PMW-F55 Quick Reference Guide.
Copyright Alister Chapman 2014. www.xdcam-user.com
HELP! SOMETHINGS NOT WORKING:
CAMERA UNRESPONSIVE
Remove battery wait a few seconds
and replace battery.
Check the (Lens Interface) settings
and turn the (Lens Interface) to OFF
unless you are using lenses with the
Arri or Cooke interface.
It’s recommended that you perform
an (All Reset) in (System) if this
occurs.
Try re-seating the WiFi Dongle, a
loose WiFi Dongle can cause the
camera to hang.
NO HDSDI OR HDMI OUTPUT
Check that the HDSDI and HDMI
outputs are enabled in the (Video –
Output On/Off AND Video – Output
Format) pages of the menu. If still no
output, perform an (System - all
reset)and re-start the camera.
R5 RAW RECORDER DOES NOT
COME ON WHEN IN CINE-EI
The R5 raw recorder will only operate
in the Cine-EI Mode. In addition you
need to set the operating mode
(System – Base Setting – Shooting
Mode) to RAW and you must set the
(Recording – Rec Control) to AXS
for raw on the R5 only or AXS + SXS
for raw plus internal SxS.
CAMERA WON’T COME ON AFTER
CHANGING LENS.
Check the (Camera - Lens Interface
- Setting) settings and turn the (Lens
Interface) to OFF unless you are
using lenses with the Arri or Cooke
interface.
OPTITEK LENS ADAPTER FOR
CANON LENSES NOT WORKING.
Check the (Lens Interface) settings
and turn the (Lens Interface) to
(TYPE C).
CAN’T SELECT 4K HDSDI OR 4K
HDMI OUTPUT.
4K HDSDI and HDMI output is only
available on the PMW-F55 and only
when the camera is recording 4K
internally on the SXS cards. If using
the R5 to record 4K you can only
record 2K/HD on the SxS cards, so
cannot get a 4K HDSDI or HDMI
output.
CAN’T ENABLE PROXY
RECORDING
Proxy recording (XAVC + Mpeg2 on
same SxS card) is only available on
the F55 and only works when the
camera is recording 4K XAVC YPbPr.

PMW-F5 and PMW-F55 Quick Reference Guide.
Copyright Alister Chapman 2014. www.xdcam-user.com
!
CAN’T SELECT SStP SR (HDCAM
SR) CODEC
You can only select the SStP SR 422
codecs when the camera is in YPbPr
mode and you can only select SStP
444 when in RGB mode. You cannot
use SStP and RAW with the R5 at the
same time. (System – Base Setting
– Main Operation – YPbPr or RGB).
WAVEFORM OR HISTOGRAM NOT
WORKING
You can only use the cameras built in
waveform and histogram options
when you the Sub SDI is enabled.
(Video – Output – SDI SUB).
In addition the waveform will only
display when the LUT settings for the
VF output and Sub SDI output are the
same, either LUT ON for both or LUT
OFF for both. (Video – Monitor LUT
– Sub&HDMI PLUS Viewfinder)
NEED TO PERFORM AN “ALL
RESET” BUT DON’T HAVE ANY
VIEWFINDER OR MONITOR
OUTPUT.
From firmware V3 onwards you
should be able to turn the SDI SUB
display overlay ON/OFF from the side
panel by pressing the “CAMERA”
button one or two times to get to the
page where SDI(Sub)Disp is shown in
the bottom left corner.
Otherwise do the following:
Turn the camera off then back on.
Press the menu button once.
Slowly turn the Sel/Set knob 11 clicks
clockwise (10 clicks for earlier
firmware versions).
Press in the Sel/Set Knob.
Turn it a further 15 clicks clockwise.
Press the Sel/Set Knob twice.
Turn it anti clockwise one click.
Pess the Sel/Set knob.
The camera should reset.
You should then have text overlays
on the SUB HDSDI output.

PMW-F5 and PMW-F55 Quick Reference Guide.
Copyright Alister Chapman 2014. www.xdcam-user.com
S&Q, SLOW MOTION AND 2K SENSOR CROP:
CAN’T SELECT S&Q, MENU
OPTION GREYED OUT.
Camera must be set to YPbPr XAVC
or RAW to record S&Q. S&Q will not
work if the camera is set to RGB,
MPEG or SStP (System – Rec
Format – Format – XAVC). (System
– Base Setting – Main Operation –
YPbPr OR RAW).
For Raw only set (Recording – Rec
Control – Setting) to AXS.
CAN’T SELECT FRAME RATE
HIGHER THAN 60FPS IN S&Q
You must turn on HFR (Camera –
S&Q Motion –High Frame Rate –
Full Scan or Center Scan). Only
choose Full Frame if you have the
optional 2K Optical Low Pass filter
installed, otherwise use Center Scan
to avoid excessive aliasing. HFR
above 60fps is limited to 2K/HD.
MY HIGH SPEED FOOTAGE HAS A
LOT OF JAGGIES, RAINBOW
PATTERNS AND DOES NOT LOOK
GOOD.
See note above. Use Center Scan
mode to avoid aliasing and moiré
without the optional 2K Low Pass
Filter.
I CAN’T GO ABOVE 150 FPS IN HFR
S&Q
You can only go above 150fps if the
camera is set to a NTSC area
frequency, so 23.98, 24, 29.29 or
59.94fps must to be used for higher
frame rates. (System – System
Setting – Frequency)
I CAN’T GO ABOVE 180 FPS IN HFR
S&Q
Internal recordings on the SxS cards
are limited to 180fps. To go up to
240fps you must use the optional R5
raw recorder and be in the Cine EI
mode (System- Base Setting –
Shooting Mode – Cine EI PLUS
Main Operation – RAW). In addition
you may need to disable SXS
recording to get above 180fps.
(Recording – Rec Control – Setting
- AXS) use AXS only for 240fps on
the R5.

PMW-F5 and PMW-F55 Quick Reference Guide.
Copyright Alister Chapman 2014. www.xdcam-user.com
!
NO LUT”S WHEN SHOOTING S&Q
LUT operation is restricted/limited
when in S&Q. You can only have
LUT’s ON or all LUT’s OFF. There is
no option to split the LUT’s between
the internal recordings and SDI/HDMI
outputs. To turn on the LUT’s on the
HDSDI/HDMI you must turn ON the
Main&Internal LUT in the menu.
(Video – Monitor LUT –
Main&Internal). As an alternative you
can turn LUT’s OFF and use the
viewfinder High Contrast Mode which
adds a 709(800) look to the
viewfinder pictures only. (System –
Assignable Button – VF High)
HOW DO I SHOOT 2K RAW
INSTEAD OF 4K RAW
To shoot 2K raw instead of 4K set the
Imager Scan to 2K Full or 2K center.
Note that in order to get the very best
results from 2K Full you should install
the optional 2K optical low pass filter.
You SHOULD NOT use the 2K OLPF
in 2K Center Scan. (System – Base
Setting – Imager Scan Mode)
FLICKERING PICTURES IN HFR
Not really a camera issue, most likely
the frequency of the light sources in
your scene are not high enough.
Even a distant light source such as a
fluorescent light can introduce flicker
into a daylight scene. Try using
different high frequency lights or
lower the frame rate.
!

PMW-F5 and PMW-F55 Quick Reference Guide.
Copyright Alister Chapman 2014. www.xdcam-user.com
OTHER GOTCHA”S AND THINGS USEFUL TO KNOW:!
RESTORE MEDIA
Never perform a media restore on a
camera with a different firmware
version to the one that shot the
material. Otherwise this is a
completely safe to use function that
tidies up files on your media cards to
prevent or fix file corruption. If you get
a Restore Media message you should
always select “OK”. Do not try to
record further material on a card that
has given this message until a media
restore has been performed.
RESTORE MEDIA FAILS
Check that the write protect tab on
your media is not enabled.
EXECUTE APR
You will periodically see this message
at start up. Whenever possible cap
the lens or camera body to exclude
all light and select “OK”. The process
takes about 60 seconds and checks
for any hot or dark pixels and restores
the correct levels or maps them out.
PROBLEMS WITH AN AXS CARD
AXS cards should be re-formatted
periodically to maintain best
performance. Repeatedly formatting
an AXS card several times will clear
most AXS card issues.
FLICKER REDUCE/IMAGE FLICKER
Designed to reduce or eliminate
flicker from artificial lights when
shooting at a frame rate that does not
match the mains frequency of the
country. However is known to cause
problems when using the shutter.
Better to use the shutter set to a
frequency that is a multiple of the
mains frequency. E.g. 1/50, 1/100th
for 50hz countries (Europe, Asia) and
1/60, 1/120th for 60hz countries (USA,
Canada).
NOISE REDUCTION
The camera has internal noise
reduction but this ONLY works in
Custom Mode.
SLOG2 EXPOSURE LEVELS
Middle Grey = 32% 90% White = 59%
SLOG3 EXPOSURE LEVELS
Middle Grey = 41% 90% White = 61%
HOW TO TURN ON THE
WAVEFORM VECTORSCOPE OR
HISTOGRAM
These are tucked away in the (VF –
Display On/Off – Video Signal
Monitor) settings.
!

PMW-F5 and PMW-F55 Quick Reference Guide.
Copyright Alister Chapman 2014. www.xdcam-user.com
WHICH CODEC?
The camera has several codec
options. (System – Rec Format).
MPEG
The same as the XDCAM codec, 8
bit, 422 at 50Mb/s. Good for news,
quick turn-around, small file size. Max
Frame rate 29.97fps HD only.
(System – Rec Format).
XAVC
New Sony codec. Variable bit rate
depending on whether HD or 4K and
frame rate.
In F5/F55 always 10 bit 422 XAVC
Intra. Good for high quality
productions but with compact file
size. 100Mb/s at HD 24fps. Approx
300Mb/s at 4K 24fps. (System – Rec
Format).
SStP
SStP (Simple Studio Profile) is the
same codec as used for HDCAM SR
tape. Extremely high quality 422 or
444 codecs. HD only and large file
sizes. 220Mb/s for 422 and 440Mb/s
for 444. (System – Rec Format). 444
option only available when camera is
in RGB mode (System – Base
Setting – Main Operation). SStP can
not be used when using the R5 to
shoot Raw.
USE CONTENT BROWSER TO
OFFLOAD FILES BEFORE
ERASING CARD.
Always try to use Sony’s Content
Browser to copy material from your
SxS cards before erasing or
formatting the card. Content Browser
will check for media corruption when
a card is opened. If it detects any
issues it will instruct you to perform a
“Restore Media” by replacing the
card in the camera.

PMW-F5 and PMW-F55 Quick Reference Guide.
Copyright Alister Chapman 2014. www.xdcam-user.com
CINE EI MODE AND LUTS.
WHAT IS CINE EI MODE
In depth guide to CineEI here:
http://www.xdcam-
user.com/2013/12/cine-ei-mode-
when-recording-s-log23-and-raw-on-
the-f5-and-f55/
This is a mode that mimics film
camera operation. Recordings are
always done at the camera’s native
ISO (1250 on F55, 2000 on F5).
LUT’s are used to provide easier
monitoring. Gain in the form of an
“Exposure Index” is applied to the
LUT. To enable Cine EI (System –
Base Setting – Shooting Mode –
Cine EI).
TO TURN LUTS ON
LUT output must be enabled in order
to use the LUT’s. Normally with LUT’s
you should enable LUT’s for
Sub&HDMI and Viewfinder but NOT
for Main&Internal. (Video – Monitor
LUT – Sub&HDMI PLUS
Viewfinder). LUT’s can also be
controlled from the side panel by
pressing “camera” one or two times.
LUT OPTIONS ARE GREYED OUT
You must be in Cine EI mode.
See note in S&Q section of this
document about LUT’s when in S&Q.
Also when the F55 camera is
outputting 4K over 4x HDSDI LUT
operation is not possible.
LUT OR LOOK?
You can select between LUT’s and
LOOK’s. LUT”s are 1D LUT’s and
have a greater output range so will
show exposure more faithfully than
the LOOK’s when using a low EI.
LUT’s only change contrast, LOOKs
can change contrast, hue and colour.
(Video – Monitor LUT – Category).
Personally I prefer LUT’s for judging
exposure, but LOOK’s may be better
for estimating what the final
production may look like.
EXPOSING VIA LUT/LOOK
Exposure tools like
Waveform/Histogram/Zebras
measure the LUT/LOOK output, you
should expose using normal video
exposure levels when using a LUT.
!

PMW-F5 and PMW-F55 Quick Reference Guide.
Copyright Alister Chapman 2014. www.xdcam-user.com
!
WHICH LUT OR LOOK
This is down to personal preference.
Use the one that looks right to you or
gives the most pleasing image. There
is no best LUT/LOOK or right or
wrong LUT/LOOK. If unsure I
suggest LUT P1 709(800) as this
gives reliable and conventional 709
exposure levels.
EXPOSING WITHOUT LUT
Slog2 Middle Grey = 32% 90% White
= 59%. Slog3 Middle Grey = 41%
90% White = 61%
CANT CHOOSE USER 3D LUT
User 3D LUT’s are only available
when the camera is set to SGmaut3
or SGamut3.cine.
USING A LOW EI
Using an EI Lower than the native
ISO will result in a final image with
less noise and more shadow
information (as the actual recordings
will be brighter). However over-
exposure headroom is slightly
reduced.
USING A HIGH EI
Using an EI higher than the native
ISO will result in noisier pictures with
less shadow information but with
greater over exposure headroom (as
the actual recordings will be darker).
SLOG2 OR SLOG3
Both give the same dynamic range.
Slog2 may have some small benefits
for low EI shooting. But Slog3 is
easier to work with in post production
and uses more familiar exposure
levels. My recommendation is to use
Slog3. (System – Base Setting –
Color Space).
WHICH COLOR GAMUT WITH
SLOG3
With Slog3 you can choose between
S-Gamut3 and S-Gamut3.cine. S-
Gamut3 is an extremely large color
Gamut that can cause issues in some
post workflows. S-Gamut3.cine is a
smaller subset of S-Gamut3 that is
easier to work with and very close to
the DCI P3 color space used for
digital cinema. Check with your post
production people. Otherwise my
recommendation is to use S-
Gamut3.cine. (System – Base
Setting – Color Space).

PMW-F5 and PMW-F55 Quick Reference Guide.
Copyright Alister Chapman 2014. www.xdcam-user.com
CUSTOM MODE GAMMA CURVES AND MATRIX.
WHEN TO USE CUSTOM MODE
Custom mode is good for creating a
baked in look in camera or for
workflows where the amount of post
production will be minimal. Do also
consider as an alternative using
CineEI mode and baking in a look by
using a LUT with (Video – Monitor
LUT – Main&Internal) set to ON. The
LC-709 TypeA Look creates a very
pleasing image.
SELECTING CUSTOM MODE
Custom mode is selected in (System
– Base Setting – Shooting Mode –
Custom).
YPbPr or RGB
For most applications you will use
YPbPr. RGB would only be used
when recording with SStP 444 for
very high quality productions,
perhaps green screen work. (System
– Base Setting - Main Operation)
GAMMA CHOICE
The Gamma curve effects the
contrast and dynamic range of the
recordings. When the gamma curve
selected in the camera does not
match the gamma curve of the
monitor the contrast will not be
normal (typically flat and washed out).
Most TV’s and Monitors use a
gamma curve called REC-709 or
something very similar. The camera
has 5 different classes of gamma,
STD (standard) HG (Hypergamma),
User, Slog2 and Slog3. (Paint –
Gamma – Gamma Category).
STD GAMMAS
Limited dynamic range but closest
match to most display devices.
Standard gamma gain is x4.0, so a
gamma with higher gain will be
brighter, lower gain darker.
STD5 R709 is the standard gamma
for HD television.
STD1 DVW – similar to older Sony
SD cameras.
STD6 x5.0 – 5x gain gamma, often
known as BBC gamma.
(Paint – Gamma – Gamma Select).
!

PMW-F5 and PMW-F55 Quick Reference Guide.
Copyright Alister Chapman 2014. www.xdcam-user.com
!
HYPERGAMMAS
More info here: http://www.xdcam-
user.com/tech-notes/correct-
exposure-with-cinegammas-and-
hypergammas/
Special extended range gammas that
are close to standard gammas so
grade very easily but offer greater
dynamic range and a more film like
highlight roll-off. Exposure levels
should be slightly lower (1/2 to one
stop lower) than STD gammas.
Looking in the menu you will see
each Hypergamma described by a 7
character name. The first 3
characters are the dynamic range in
%. The 4th is the clip point, 0 = 100%,
9 = 109%. The number after the G is
the nominal middle grey exposure
level in %.
Use HG with high G for low key
scenes, low G for high key scenes.
(Paint – Gamma – Gamma Select).
USER GAMMA
Here you can select a user created
Gamma Curve. (Paint – Gamma –
Gamma Select).
Slog2
More Info Here: http://www.xdcam-
user.com/2013/11/understanding-log-
and-exposure-levels-also-other-
gammas-please-read-and-
understand/
The original 14 stop Sony Log
gamma curve. Only use if you are
prepared for extensive post
production. (Paint – Gamma –
Gamma Select).
Slog3
New 14 stop log curve, very close to
Cineon Log. Easier to grade than
Slog2. Only use if you are prepared
for extensive post production. (Paint
– Gamma – Gamma Select).
COLOR MATRIX
The color matrix allows you to alter
the color response of the camera.
(Paint – Matrix).
PRESET MATRIX
Allows you to choose between
several different pre-set matrix
ranges. (Paint – Matrix – Preset
Matrix – ON PLUS Preset Select).
!

PMW-F5 and PMW-F55 Quick Reference Guide.
Copyright Alister Chapman 2014. www.xdcam-user.com
!
CHOOSING THE RIGHT MATRIX
Standard for normal shooting.
High Saturation for strong vivid
colors.
FL Light – to remove green color cast
present when shooting under some
fluorescent or LED lights.
Cinema – Subdued colors to mimic
film style colors. (Paint – Matrix –
Preset Matrix – ON PLUS Preset
Select).
USER MATRIX
The user matrix allows you to alter
the way the camera combines colors
to give accurate hues and shades.
Difficult to adjust unless you know
what you are doing. (Paint – Matrix –
User Matrix).
MULTI-MATRIX
An easier to use way of adjusting the
colors the camera reproduces. You
can take multiple colors by selecting
several different AXIS settings and
adjust the saturation and hue of those
colors. Be careful as this can
sometimes result in odd behavior on
colors that sit on the boundary
between two axis. (Paint – Multi-
matrix).
DETAIL
More info on detail correction here:
http://www.xdcam-
user.com/2010/12/why-do-my-
pictures-go-soft-when-i-pan-camera-
detail-correction-in-depth/
Detail boosts the contrast around
edges making the image appear
sharper. May look artificial if set too
high. If doing post production grading
I recommend you turn Detail OFF as
you can always sharpen in post and
excessive in camera sharpening can
restrict how much you can grade your
footage. (Paint – Detail). The default
detail level of 0 is adding noticeable
edge enhancement. A level of -23 is
the same as detail off. Lower than -23
and the image softens.
!

PMW-F5 and PMW-F55 Quick Reference Guide.
Copyright Alister Chapman 2014. www.xdcam-user.com
!
APERTURE
A frequency based edge sharpening
effect that makes the image look
sharper. Tends to be less aggressive
and more natural looking than detail
correction but again I recommend you
turn Detail OFF as you can always
sharpen in post and excessive in
camera sharpening can restrict how
much you can grade your footage.
(Paint – Aperture).
BLACK GAMMA
Can be used to adjust the slope of
the darker part of the standard
gamma curves. This lowers or
increases the contrast in the darker
parts of the image. (Paint – Black
Gamma).
KNEE
Adjusts the point where the knee
starts to compress and the
compression ratio of highlights in the
standard gammas. Done to increase
dynamic range. (Paint – Knee). Best
left alone unless you have a
waveform monitor to get the settings
just right. If shooting a scene with a
very low dynamic range you can turn
the knee off to eliminate electronic
looking highlights, but highlight range
will be dramatically decreased.
WHITE CLIP
Sets the clipping point of the camera.
Normally OFF. If going direct to air for
broadcast you may want to turn this
ON and lower this to 104% for digital
or 100% for analog broadcasters.
Note that doing this will have an
impact on the optimum knee settings.
(Paint – White Clip).
CHECK BACK FOR THE LATEST VERSION OF THIS
DOCUMENT AT:
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guide/