Author: Martin North

More On The Sony PXW-Z90 Auto Focus

We continue to test this compact video camera, using scenes from a surf event at Sandon Point, NSW. We filmed the first half in SLog 3, but noticed the final results were a little less sharp than expected, yet this changed when we went back to standard profiles (PP4) or HLG (PP10).

The auto focus is excellent and the camera, which we operated in manual exposure mode, handled the difficult lighting situation and fast moving images, even at extreme close-up using clear image zoom.

We find this camera performs really well, and in 4K, despite the 4.2.0. colour depth, the images are excellent.

The Camcorder Is Not Dead – Sony PXW-Z90 Test

We had the chance to test the new Sony PXW-Z90, a small “professional” camcorder with 4k UHD (25/30p) 4.2.0. and 1080p Slow-mo and 4.2.2 10 bit HD.  The focusing on this camera is excellent, including face recognition, and it has good reach with 12x optical and up to 18x with clearview. Good optical stablisation, and plenty of custom buttons.  It has a full size HDMI port, as well as a SDI port. Plenty of network connectivity options too.

We use a Canon XF200 for much of our corporate work, which has no 4k. The Sony Z90 is proving to be an excellent replacement with similar form factor (but lighter), and has MXF file wrapper which is good for broadcast, but harder to edit.  The colour science is pretty good – we used pp4 for this test, but there are options of HLG and SLog3.

Here is a quick demo of the results we got shooting in 4K (and 1080p slo-mo up-scaled).

Getting Closer – ~750mm On The Sony FS5

We had the chance to try the new Sony FE 100-400mm zoom lens on the Sony FS5, with the 1.4x teleconverter. The zoom is full frame, but the FS5 is 35mm, so we get a crop on that. The maximum zoom combined is around 750mm.

We recorded in 4K RAW to the Atomos Shogun Inferno and mastered to 4k with LUTs applied. The camera reported a f6.3-8 range. No sharpening was applied in post. Autofocus worked fine.

This short segment contains long range close-ups, including buildings and landscape over 2km away, where atmospheric distortion can be seen, as well as rain showers. We also caught wildlife on a Gymea lily, which is a flowering plant in the family, Doryanthaceae, with a flowering spike 4-6 metres off the ground.

Overall, the quality of the images are pretty good, with a reasonable depth of field for wildlife. No obvious vignetting. Sharpness and contrast were also pretty good considering the amount of glass involved.

Testing The New Fujinon MK 50-135 Lens

We tried the new Fujinon MK 50-135 Lens on the Sony FS5, recording 4k via RAW to the Atomos Shogun Inferno, 50 fps. The lens works really well and offers a neutral, yet sharp set of images. This is using the latest FS5 firmware, shot at ISO 2,000 in SLog3. Did some basic grading but did not apply any noise reduction in post.

No evidence of focus breathing, and the Inferno screen helps to set the manual focus right. There is no electrical connection between lens and camera.  These tests were recorded with the lens right open, and the depth of field in quite narrow. But that of course is the point!

4K Sony A9 Video Test, Using Variable ND Filter

Whilst the A9 is mainly a stills camera, the video functionality may be limited, but the quality of the 4K footage is excellent, especially when the frame rate is controlled using an external variable ND filter.  This short sequence was shot using a basic 50mm lens, hand held. We mastered it to 4K.

We shot the sequence at f2.6, which gave a shallow depth of field, and the subject was nicely isolated from the background. Also, no sign of focus phasing, unlike the same lens on the A7RII. The focus science on this camera is streets ahead in video mode – yet alone the amazing results when taking photographs.

The results are of course limited by the lack of log profiles, but the basic video functions are excellent, especially if the histogram is activated. I found the best results were with a one stop drop in exposure.

Sony A9 4K Video Test, Sydney Harbour

A short sequence shot at Circular Quay, Sydney Harbour, with the Sony A9 in 4K. Used a combination of automatic and manual settings with a simple 50 mm lens.

The image quality, without Slog is better than the A7RII, no pixel binning? Moire is very well controlled. Having used the variable ND filter on the FS5, I missed the ability to control light to get the frame rate right. A variable ND is now, for me, a must have, especially in the high light levels on the harbour. Mastered to 4K, with grading applied.

4K With The Sony FS5. RAW and Atomos Shogun Inferno

The combination of the FS5, the RAW upgrade and the Shogun Inferno allows high quality 50 fps recording at 4K. This sequence was shot at our local beach late on a winter afternoon, with strong sunlight, and in a windy spot.

We used the Sony PZ 18-110mm f/4 G OSS lens. Shot in Slog3 Cine, with LUTs applied. One interesting point is that RAW reads data direct from the sensor and so no lens correction is applied. As a result you can see the horizon distorts just a little, (e.g. at 17s), something which disappears when not using RAW. But then you cannot get the highest quality from the sensor!