Sony

PXW-FS7 Guide

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 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 – Resetting the Camera
Formatting (initialising) the Cards
Initial Set Up
Record Format
Page 9 – Shooting Mode/Base Setting
Page 10 – Colour Space
Page 11 – Setting the Codec
Page 12 – Basic Audio
Page 14 – Custom Mode and hyper gammas
Page 15 – What hyper gammas look like
Page 16 – Which hyper gamma to use
Setting the white clip
Page 17 – Custom Mode Matrix Settings
Page 18 – What each matrix looks like
Page 19 – Multi Matrix
Page 20 – White Balance
Page 21 – Focus controls and aids
Page 22 – Exposure Tools
Page 24 - Histograms
Page 25 - Waveforms
Page 28 – Slow and Quick Motion
Page 29 – ND Filters
Page 30 - Gain
Page 31 – Gain to ISO conversion Chart
Shutter Speed
Page 32 – CineEI Mode
Monitoring and Viewing S-Log 2/3
Page 33 – Monitor Look up Table
Page 34 – High and Low Key Function
Page 35 – CineEI and Exposure Index

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 Layout and Buttons (Left)
Slow & Quick Motion Button to open QXD
(Page 28) card slots

ND Filter Start & Stop Record Audio controls
Rotate to engage Headphone socket
(Page 12)
(Page 29)

Focus Controls On/Off Switch
(Page 21) Gain Switch
White Balance Menu and selection

(Page 20)














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 Layout and Buttons (Back)

XLR Inputs
Battery Release

SDI and HDMI outputs Remote grip input
Lens

Focus Ring Zoom Ring Powered Zoom
(Page 21) Iris Ring Manual to power zoom.
Optical steady shot on
and off
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Layout and Buttons (Viewfinder, grip remote control and eye piece)

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Attaching the Eye Piece

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 How to attach and adjust the grip remote control

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 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.

Menu > Media > Format Media > A or B (Execute when prompt to)

Initial Set Up

Frame rate setting

Menu > System > Country > Pal

Record Format

This defaults to 1920 x 1080 50i , this is correct if you are shooting for TV broadcast. Anything else
change to 1920 x 1080 25p 50.

Menu > System > Rec Format > Video Format

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 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.
• CineEI is a more complex work flow and what you see in the viewfinder may not be what is
recorded. (Page 31 for more details)

To change the base settings

Menu > System > Base Settings > Custom or CineEI

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 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.

S-Gamut3.Cine records a smaller colour range that S-Gamut/Slog2 and S-Gamut3/Slog but it is
still a larger range than rec709, that has a similar shape to rec709 that makes it a very natural
colour space that then makes it easier to grade in post production.

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 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

• MPEG 2 • High Quality • Long G.O.P (Group of
• HD Only (only records • HD Pictures) Codec. This
1920 x 1080p/i or • Smaller file sizes compresses every
1280 x 720p) • S&Q Motion frame individually
• Can be progressive • 1 min = 1Gb • More efficient with the
and Interlaced • If you have the space way it records frames
• No Slow and Quick this is what is • If a frame doesn’t
(S&Q) Motion recommended to use. change it doesn’t
• 1 min = 500mb record it.
• Needs more processing
power to edit
• Only requires ¼
storage space
• 1 min = 400mb

You get 2 x 32gb QXD cards with the camera there are no other cards available.

To record in S&Q motion go to page 28.

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 Basic Audio

Changing the input from Switching each Adjustment for the

XLR Inputs 1 & 2 line, Mic & Mic +48v channel from audio levels
Phantom power manual to automatic

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.

Menu > Audio > Audio Inputs > CH 3 > Internal Mic

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 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). To change the gamma curve

Menu > Paint > Gamma > Gamma Category > STD (Standard Rec709) or HG

HG = Hyper gammas. To select a hyper gamma

Menu > Paint > Gamma > Gamma Category > Gamma Select

Ungraded
Broadcast TV HG1 325 0 G36 Recommended
standards HG2 460 0 G30 exposure for middle
Fine for any other HG3 325 9 G40 grey
production and on HG4 460 9 G33
the internet HG7 800 9 G40
HG8 800 9 G33
The maximum
Dynamic range in % recording level of white
relative to normal gamma 0 = 100% Peak White
9 = 109% Peak White
When recording using these hyper gammas we under expose leaving more room to capture a
wider dynamic range.

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 What each gamma looks like

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 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.

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 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
HG1 3250G36 for indoor scenes
HG2 4600G30 for exterior and bright scenes
For any production
HG3 3259G40 for indoor scenes
HG4 4609G33 for exterior and bright scenes

Setting the White Clip

To change the settings for the following hyper gammas

HG3 3259G40
HG4 4609G33
HG7 8009G40
HG8 8009G33

Menu > Paint > White Clip > Set White clip to level 109%.
For HG1 and HG2 keep the white clip setting to 100/105%

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 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.
The colour matrix controls the way the camera responds to colour.

Menu > Paint > Matrix > Pre-set Matrix

• Standard
• High Saturation (Boosts colours)
• FL Light (help to shoot under fluorescent lighting or lights with large amount of green)
• Cinema (desaturated look)
• F55 709Like (To match a F55 camera)

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 What each matrix looks like

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 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.

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 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.

Manually setting White Balance

Manually adjusting the white balance after you set the white balance and it still doesn’t look right.
Change the preset by going into

Menu > Paint > White > Preset White

Within the preset you will get a list of all the available preset whites and scrolling through them all
you will see changes, click enter to set the white you require.

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 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. In the back position it’s in full manual mode
that overrides the camera body switch.

Focus Aids

Focus magnifier (Assign button 4, on the handle), push once x4, push twice x8, push three times
returns to normal.

Peaking adds a coloured edge around objects in

focus. The button is on the left hand side of the
monitor.

The colours can be changed in the peaking by

going to

Menu > VF > Peaking > Peaking Type > Select

your colour

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 Focus Aids Continued

Focus Assist indicator

As the shot comes into focus the Frame your object you want in
graph will start to fill from the right focus inside or near the white box
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.

Zebras Waveform and Histogram

Measures the viewfinder Measures SDI 2
LUT on = Measures the MLUT LUT on = Measures the MLUT
LUT off = Measures S-Log LUT off = Measures S-Log

Zebras are set in VF menu; zebra 1 default is 70% (Standard for skin tones using 709 gamma) so
when exposure reach’s 70% zebras will appear but with the zebra aperture set to to 10% zebras will
start to appear between 65% and 75%. Zebra 2 is slightly different to zebra 1 where it looks at the
over exposure so when it is set to 100% it will come on and stay on for anything 100% and above.
This can be changed in the VF settings in the menu.

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 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. It is recommended that when you are using hyper gamma 1 or 2 that you set zebra 2 to
90/95%. When using CineEI zebras measure the MLUT output, if you use the rec709 MLUT then
normal zebra levels should be used (Zebra 1 = 70% and Zebra 2 = 100%).

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 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.

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 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.

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 Below are examples of where highlights, shadows and skin tones should fall within the waveform
using rec709 gamma.

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 Waveforms Continued

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 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. Once S&Q is active it defaults to 60FPS.

This indicates that S&Q has been activated on the right you see 60FPS

To change the frame rate, go to Menu > Recording > S&Q Motion
To get beyond 60FPS you must go to high frame rate and activate full scan then you can change the frame rate.

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 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.

What is a stop using aperture?

Because of the way f-numbers are calculated, a stop doesn't relate to a doubling or halving of the
value, but to a multiplying or dividing by 1.41 (the square root of 2). For example, going from f/2.8
to f/4 is a decrease of 1 stop because 4 = 2.8 * 1.41. Changing from f/16 to f/11 is an increase of 1
stop because 11 = 16 / 1.41.

Below shows what everything is doing inside the camera and lens

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 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
they add

L +6dB = Adds 1 F Stop

M +12dB = Adds 2 F Stops
H +18dB = Adds 3 F Stops

On the left hand side there is a switch

that has 3 positions (L,M,H). These
values can be changed by going to

Menu > Camera > ISO/Gain/EI > You

will see the options to change low,
medium and high

Gain Switch Shutter Speed

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 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
+27 db 12800 ISO
+30 db 16000 ISO

Shutter Speed

Shutter speed is the length of time when the sensor inside the camera is exposed to light. The
amount of light that reaches the film or image is proportional to the exposure time. 1/500th of a
second will let half as much light in as 1/250th.

When shooting in 25p the standard shutter speed tends to be 1/50 or 1/60. The rule is what your
frame rate is you double for the shutter speed to get a nice image. The higher you go the smooth
your image will be.

To change the shutter speed press the shutter speed button on the left hand side and select what
speed you want.

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 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).

Monitoring and Viewing S-Log 2/3

To make life easier when shooting with S-Log 2/3 use a monitor look up table (MLUT)

To set the MLUT to in to Menu > monitor LUT > SDI 2 (IMPORTANT leave MLUT off SDI 1 and
internal recording). Use the Rec709(800) gamma curve MLUT it converts the image to standard TV
gamma so that if the image looks right it is right.

This makes exposing your images easy as you can see a true image but still recording in S-Log.
You would do everything as you would be using the LUT as you would with S-Log.

To set the Rec709 MLUT Menu > Video > Monitor LUT > Viewfinder > On
SDI 2 > On
HDMI > On
LUT select P1: 709(800%) standard TV. Zebra’s not effected use as normal can use 70% or 90%.

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 Monitor Look Up Table (MLUT)

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 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 > System > Assignable Button > Button 2 Auto Iris (change this as auto iris
does not work in CineEI mode)

Press assign button 2 once and the image darkens to show the highlight areas to check they are
not over exposed.

Press assign button 2 a second time and the image lightens for the shadows to check for under
exposure.

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 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. The cameras native setting is 2000 ISO. Changing the EI doesn’t change the recording ISO
but changes how affective it is.

To adjust the EI you use the gain switch on the left hand side but you want the gain/EI high, medium
and low settings to be less than the native 2000 ISO to get the best image. To change time, go to
Menu > Camera > ISO/Gain/EI and change the setting to be high at 2000/6.0 E, medium to be
1000/5.0 E and low at 500/4.0 E

Recording at 2000 ISO can effect grading where it produces too much noise. EI does not change
the sensitivity of the camera it only effects the MLUT. Halving the ISO = minus 1 stop, doubling the
iso = plus 1 stop. Stopping the EI down and opening the aperture to expose your image so the
camera is still recording at 2000 iso your image is brighter so when you go into post you bring your
levels down reducing the noise and a clear image. It does have cons that some highlights maybe
over exposed but you can see more into the shadows. Use 1000EI or 800EI for most general filming.
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