SONY FS5 I I | USER REVI EW
of 60fps in 12-bit 4K DCI output, then it would be even more. That’s why it makes sense to use a recorder to convert to a ProRes format, which uses up less space and is faster to edit (plus ProRes Raw gives the most flexibility in getting the look you want). It enables the Sony FS5 II to give results that were inconceivable just a few years ago, especially for a camera at this price. But the FS5 II is also an ideal small-package camera for those who don’t want to shoot in Raw, as the new colour science is definitely a step ahead of the original camera. Sony claims that it’s down to the colour science borrowed from the Venice, with rich mid-range colours, far more natural facial tones and a softer tonal look. PERFORMANCE In use, the camera is a step ahead of the old FS5, with skin tones an obvious improvement. It was very noticeable in a direct comparison between the new Sony and current FS5, which we have used for more than a year. The footage from the Mark II is far more natural and useable straight out of camera, while the original FS5 is more contrasty and harder to get right in grading. On both, it’s essential not to overexpose or the colours become very surreal when you try to pull back the exposure. There are nine additional Picture Profiles, some specifically designed for S-Log2 and S-Log3, and even one to give a DSLR-style look. To many, this is bold and over-saturated, but it may suit your workflow. In use, the FS5 II retains all the great features of the original, such as the built-in variable ND filter. Dial in one of the three filter settings, or set the camera to variable and change the ND value via a wheel. In this way you can choose shutter speed
RIGHT The new FS5II has extra and needed features for the same price as the old model - thanks Sony.
with the Raw and HFR built in, and the Venice colour science means its internal codec is far more useable with much better skin tones. It gives an improved cinematic look, and there are built-in picture profile options if you’re after contrasty and bold results. Here you have a small, light and relatively affordable camera. Adding on accessories, such as an Atomos Shogun Inferno, boosts quality and flexibility you can only get from Raw. We said that the FS5 was the ultimate affordable camera that can be stripped down to a very small package or dressed up with an external recorder into something that gives incredible quality, with all the benefits and complexities that brings. The FS5 II is even better and no more expensive – that makes it a real winner.
and aperture then dial in the correct exposure by turning the ND filter. For super slow motion, there are frame rates up to 960fps, but at low quality. It shoots 240fps in HD but the FS5 II only lets you record up to eight seconds of action, which it then has to buffer. The new HFR settings mean it can record 120fps internally with no waiting – a real plus for action shooters. There’s still no waveform monitoring: for that, an external monitor is a bonus. RAW ADVANTAGE The FS5 was hugely popular, but it needed about a grand extra spending on it to get it Raw compatible and shooting high frame rates continuously – and even then the internal codec wasn’t that robust. The FS5 II may look like a lacklustre upgrade, but it comes
BELOW The upgrade doesn’t change the fact that the new FS5 is a very capable camcorder.
JANUARY 20 1 9 | DEF I N I T ION 65
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