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Hyper Log Gamma permette di registrare un flusso HDR e uno SDR per una maggior flessibilità in post produzione. E' stata aggiunta l'opzione gamma BT.2020
La gestione dei colori è stata migliorata mutuando alcune novità della Sony Venice.
La registrazione interna su scheda SD supporta un flusso HD 10-bit 4:2:2 @120fps continui oppure 8 secondi a 240fps.
Sarà inoltre possibile, utilizzando un registratore esterno, un burst di 4 sec in 4K/UHD @120fsp o un flusso continuo 2K RAW @240fps.
Nuovi filtri ND variabili (elettronicamente).
Demand for HDR content is increasing and FS5 II offers you a choice of two powerful workflows. Whichever option you choose, a phenomenal fourteen stops of exposure latitude nsures the highest fidelity in capturing highlights and details within shadows.
Instant HDR Workflow is all about speed. Shoot, edit and view content in Hybrid Log-Gamma (HLG) to deliver content quickly without compromising on imaging expression and quality of content.
S-Log2/3 is the proven choice for premium applications where you wish to capture as much data as possible for the ultimate flexibility in grading.
4K Super 35 Exmor (TM) sensor
FS5 II is built around a high-sensitivity 4K Super35 ?Exmor? CMOS Sensor that offers all the benefits of a large format sensor in combination with the exceptional image readout speeds required for 4K motion-picture shooting and super slow motion.
4K resolution: 11.6 million total pixels and 8.8 million* effective pixels deliver 4K resolution. Even if you?re delivering in HD, your recordings will capture detail and image texture that HD sensors simply cannot see.
Super 35 size sensor offers ?bokeh,? the defocussed backgrounds made possible by shallow depth of field, as well as excellent low-light sensitivity and an expansive field of view.
14 stops of exposure latitude deliver powerful grayscale rendition without crushing shadow detail or blowing out highlight detail.
Sony?s Exmor CMOS design provides high-speed full-pixel read-out capability (without pixel binning) and sophisticated camera processing to ensure jaggies and moiré are minimised.
Record 10bit 4:2:2 in Full HD at up 50Mbps internally.
Record 4K at 60**/50 fps in FS-RAW via a compatible third-party external recorder, such as ATOMOS Shogun and Convergent Design® Odyssey 7Q.
a mount flexibility
Sony?s a mount system offers unsurpassed compatibility with both Sony and third-party lenses. FS5 II?s E-Mount can take cinema lenses and SLR lenses with a third-party adaptor, as well as Sony?s E-mount and A-mount lenses. So whether buying new lenses, or making use of lenses you?ve already purchased, FS5 II makes it easy.
You can also purchase FS5II on its own (PXW-FS5M2) or with lens SELP18105G (PXW-FS5M2K).
Built-in electronic Variable ND Filters
FS5 II features Sony?s unique built-in electronic variable Neutral Density (ND) filter, further expanding the depth of field capability of its large format sensor. Unlike conventional optical ND Filters, the electronic ND Filter on FS5 II can be controlled from 1/4ND to 1/128ND linearly. ND Filters can also be set to auto. This makes FS5 II ideal for fast-moving shoots in changeable environments ? there?s no need to change filters as lighting conditions change and variable control makes it easy to keep depth of field under control.
New look and creative picture profiles
FS5 II features an all-new default look with beautiful highlights and subtle, well rendered facial tones for more emotive visuals where your subjects naturally stand out. FS5 II saves time in post production while still providing all the flexibility and creative latitude you require. There?s also an additional nine Picture Profiles, including ones customised for S-Log2, S-Log3 and a profile specifically tuned to provide vibrant, high contrast visuals for creators who desire a DSLR-style look. Each profile can be individually adjusted to suit your specific requirements and switched between in seconds.
However you want to shoot, the FS5 II adapts to fit your style. A high resolution 0.39-inch OLED viewfinder enables precise manual focus and is perfectly offset for right-eye or left-eye viewing. A 3.5-inch LCD screen can be attached in no less than nine different locations: three on top of the handle and another six on top of the body. And once attached, the positioning of the screen can be freely adjusted ? for example either beside the camera body or directly along the axis of the lens.