Incredible New Sony F5 Package Includes a7SII Camera, Viewfinder, and More.

We’ve partnered with Sony and unveiled one of the most aggressive and interesting packages on the F5 CineAlta camera, ever. The going price on the PMW-F5 camera body has always been $16,490…. until now! We’re excited to announced a promo called the “Production Crew” bundle.

The “Production Crew” bundle sells for $15,995, or can be financed for $0 down and 0% interest over 24 months for $667 a month. Included in this bundle is the F5 camera body with the internal 4K recording firmware. Also included is an NEW a7SII camera body, the LCD viewfinder for the F5, the shoulder pad/VCT tripod mount for the F5, an SxS card reader, and a full copy of Davinci Resolve 12.

We’re essentially providing the viewfinder, the shoulder pad, the a7SII camera, and the rest for $500 less then the camera body before. This all adds up to thousands of dollars of savings.

The price of $15,995 is surely no coincidence (hello C300mkII). If you prefer to upgrade the viewfinder to the amazing OLED viewfinder its only an additional $1000, making it $16,995.

This is truly the best time to be looking into a Sony 4K camera, specifically the F5. For more details on financing options please contact me. Let me know if you have any questions at all. Thank you very much.

Here’s a quick breakdown with a bit more detail.

The previous pricing of the individual components would have gone as follows:

PMW-F5 camera body $16,490
VCT-FSA5 ENG shoulder pad/VCT baseplate $975
DVF-L350 LCD viewfinder $3,230
CBK-Z55FX 4K recording ‘upgrade’ key $998
SBAC-US30 SxS USB reader $319
TOTAL: $22,012

NEW F5 ‘Production Crew’ package price: $15,995, ($6,017 less then above total)
Also includes an a7SII camera body and a full Davinci Resolve 12 copy worth, $2999 and $949 respectively. Combine the savings on the F5 package components, the a7SII, and Davinci and you’re looking at about $9,965 less then the same individual components would have run you prior to this package. If you add the OLED viewfinder the dollars saved actually increases as you’re only paying an extra $1,000 for the upgrade but the regular price of the OLED is $4,930, normally a $1,700 upgrade over the standard LCD.

With nearly $10,000 in total package savings the F5 is now positioned to be one of the greatest sub-$20K cinema cameras options on the market. You can finance the F5 over 24 months at 0% for only $667 or $479 over 36 months. Apply for Sony Financial Services here. Buy the F5 + a7SII combo bundle on-line now.

F5 Production Bundle.001

Alister Chapman Shows us S-Log2 on the A7s

Alister Chapman has written a very useful guide to shooting in S-Log2, specifically on the A7s. The A7s has it’s own unique ways of utilizing S-Log color space and there are some tricks that are specific to that camera. Read a sample below and the full article here.

The post production adjustment of S-Log2 is very important and one of the keys to getting the very best finished images. The S-Log2 recording acts as a digital negative and by “processing” this digital negative in post production (normally referred to as “grading”) we manipulate the large 14 stop dynamic range of the captured image to fit within the limited display range of a Rec-709 TV in a pleasing manner. This may mean pulling up the mid range a bit, pulling down the highlights and bit and generally shifting the brightness and colour levels of different parts of the image around  (see PART 2 for more post production information).

Originally Slog-2 was designed for use on high end digital cinema cameras such as Sony’s F65 camera. These cameras have the ability to record using 10 bit data. A 10 bit recording can have up to around 1000 shades of grey from black to white. The A7s however uses 8 bit recording which only has a maximum of 235 shades from black to white. Normally 8 bit recording is perfectly OK as most transmission and display standards are also 8 bit. Shoot with an 8 bit camera and then display that image directly via an 8 bit system and nothing is lost. However when you start to grade and manipulate the image the difference between 8 bit and 10 bit becomes more significant. Reposted by Eric C. Petrie

S-Log2 Exposure

Alister Chapman “No Difference Between Image of FS7 and F5″

UPDATE: November 17th. We will be including a FREE Metabones Canon EF lens adapter with the purchase of the Sony FS7 cinema camera. Thats a $300 value, absolutely FREE.

XDCam-User.com guru Alister Chapman has published his first impressions of the Sony FS7. Alister shoots regularly on an F5 so he has a very good idea for how to compare the two cameras. Here are some of his thoughts. We are taking pre-orders for the FS7 now. They will start shipping around the start of November. Call us for more details, 503-598-9142.

“But what about the image quality? Frankly it’s amazing! For the money the images this camera produces are remarkable. It is using the F5’s sensor and it does have 14 stops of dynamic range. S-log3 is a great gamma curve and the camera is very low noise, even at it’s native 2000 ISO. It was hard to tell as most of the shooting took place at night, but initially it doesn’t look like there is any difference between the quality of the footage from the FS7 and the PMW-F5. Great colours, low noise, high dynamic range with very pleasing roll off what more can you want? One area where there will be a difference is with raw. The PMW-F5 takes the Sony R5 directly docked on it’s back. The raw form the F5 is 16 bit while the raw from the FS7 is going to be recorded on an external recorder at only 12 bits. 12 bit linear raw is really pushing the limits of what is needed for linear raw. However we do already know that the 12 bit raw from Sony’s FS700 works well, so this should be no different.”

Read the rest of the article here.