F55 and DJI Ronin

Similar Questions

• NEW 3D LUT for F55 and F65

  All,

  We have created four LUT 3D for your rating pleasure. If please see below to download and do not forget to read the document before using to understand their function

  Because of differences in the reproduction of colors between F5 and F55, we will publish separate for each camera 3D LUT. These 3D LUT we provide now is for F55 and F65.

  You can use them for the F5 as if necessary starting point, but we will post specific F5 3D LUT which will more accurately represent the gamut of specific color F5

  Concerning

  Peter

  Specifically, I'm pretty sure that if you use these lut on hardware of the range S F5, things will be a bit saturated.

  Of course you can call the low saturation after the fact and get pretty close to correct, but a specific LUT F5 would be ideal.

  Things like the foliage green and blue neon shot with an F5 might look a bit out of control with these lut...

• NEW optical filter 2K for F55 and F5 CBK-55F2K Option

  All,

  We will release a new optical filter 2K for the F55 and F5, called the CBK-55F2K Option.

  The CBK-55F2K translates into 'softer, more organic' imagery when shooting in 4K. When shooting HFR in 2 K RAW the new filter will result in a more pleasant imagery.

  The filter is easy to install, it only takes a few minutes. You can switch back with your filter in the unit if necessary.

  See the image below. Price, availability and additional information will come soon

  Concerning

  Peter

  

  If it's a Moire/aliased filter then it is for these reasons:

  http://philipbloom.NET/2011/09/13/moire-2/

  They help, but they impact the image otherwise both swings and roundabouts. I still prefer ProMist filter for the cinematographic work.

• How can I find S Log 2 LUT (Sony F55) and apply to clips?

  I watched the tutorial on the use of LUTS in CC, hoever I can't find for camera Sony F55 and the Slog2 profile. There is no and if not what is the usual procedure of application a LUT in this case? My first experience with this process so forgive my ignorance.

  Hi Bretacious1,

  Discover the lut on Sony community site: http://community.sony.com/t5/F5-F55/NEW-3D-LUT-s-for-F55-and-F65/m-p/135617#U135617 who should help you get started.

  To apply the LUT, add an effect of Lumitri and then navigate to the LUT to select. Click OK and you will see the LUT working on your images.

  Hope that helps.

  Thank you
  Kevin

• F55 serious problem with AXS - R5

  Hello everyone. I had a serous problem with my F55.

  I had a R5 with 512 GB card inside, all connected together with the F55.

  I want to record 4K raw with the R5, but failed. The settings below:

  Movies of E1 mode, can't choose the 4K resolution under the REGISTRATION FORMAT menu. The BRUTE selection is also gray which means could not be selected.

  When I change movie E1 in custom mode, R5 will automatically stop, but I can see the XAVC 4 K selection in the menu REGISTRATION FORMAT. And we do not sense coz the R5 does not work.

  I feel so crazy about this problem, anyone could help?

  Thank you very much.

  .. the R5 is just work in mode "Ciné EI. If you work in "custom" mode is disabled and you can just save intern at XAVC or MPEG2 SxS cards. Here, you can switch between HD, 2K and 4K and use a lot of settings and different gammas.

  .. .at the moment F55/R5 can just record 4K in RAW mode "Ciné EI. If you are unable to change any settings. just turn your mode for "Ciné AE" and pull. You can activate the functions of Proxy to record mpeg2 in parallel to the internal SxS card.

  very important: make sure that both F55 and R5 have the same firmware (1.12 real)... ohterwise you will have strange problems, as if I had a few days... with the current firmware, it should be good.

  It could be that useful...

  Dominik

• Black Qosmio F55 screen at startup

  I have a toshiba qosmio f55 and nobody knows why sometimes when I reboot, I get a black screen, but windows is loading and hear the tinkling tune. It happens randomly. I have to unplug or hold down the power button. It must be a hardware problem because it happens on a new installation.

  Also when installing fresh windows 7, the first time the resolution of loading is on a 440 X 680 or something with only 4 bits colors. When you install the nvidia drivers, it is very good and adjustable to 1440 X 900 and 32 bit colors. When you play the laptop is fine and everything else.

  Enjoy your time for an answer :)

  Hello

  Hmm maybe that's just a problem of s graphics driver
  Have you tried updating the graphics card driver? If this isn't the case, then this.

  In addition it s a good idea to have a latest version of the BIOS installed.
  Check the current version and available on the page of Toshiba BIOS
  If you use more old BIOS and then try to update

  Welcome them

• What the 'cinematic' on the F5, F55 look?

  Ive been carefully after the F5 and F55 and my only concern was that most of the images shown so far has this 'look of Sony' (very strong and cooked in the oven) and less cinematic than saome of the other high-end cameras. I LOVE all things/functions/form of the new Sony factors but the so-called 'look' is what the customers want ultimately to feature films.

  I've recently went to the AbelCine event and was side by side the F65, F55. The F65 was nice and film but the F55 just seems so much.

  But someone on the mailing lists said they turned a few fottage and put to will/Aces and they said that the movie was a lot more cinematic.

  WHEN will be shot footage in the settings/formats more cinematic etcs. and placed in a good program with a good colorist for once that in for all that I can feel comfortable buying a premium movie camera that has a high-end "FILM" look?

  
  

• DJI devices are not not in the filter metadata "Cameras".

  I have the current version of Lightroom 5 running on OSX 10.11.4.

  I imported dozens of images and videos on both my Osmo DJI and DJI Phantom 4 SD cards, via a card reader and yet neither are listed in the filter metadata under the list of cameras - or lenses.

  Videos and images are instead listed under "unknown Camera".

  How can I tell Lightroom about these missing cameras?

  Jpg they appear not as 'DJI Osmo' and 'DJI Phantom' but as 'HG310' and 'FC330' respectively. I'm wondering now if there is a way to change this so that they appear with the correct model numbers - or what I need to change the metadata of every time I do an import?

  These are the names of the models that DJI has chosen to incorporate into metadata, for example

  [EXIF]          Make                            : DJI
  [EXIF]          Camera Model Name               : FC330
  

  A quick Google search reveals this is how people refer to specific models.   If you don't remember the model number, just filter on the brand ("DJI") and you will see the available model numbers.

• Workflow ACES thread

  First of all a big hello to everyone

  Today I received my new sony F55 and I feel very comfortable with the camera, of course a few things that are missing sill, as the HFR and exposure tools, but that's another thread. Here, I want to discuss, as says the subject, ACES workflow with raw F55.

  And to be honest, I want to keep it as simple as possible.

  Lets start with the basic things:

  0 configuration double shooting (SxS and FIRST):

  1 eat them both

  2 use the SxS equipment for editing in Adobe Premiere

  3. send an EDL "Davinci Resolve"

  -> 4. Relink raw

  0R?

  --> 4.1. Convert materials first with Sony RawViewer DPX sequence (Workingspace ACE, stay with the meta settings, Export DPX)

  --> 5.1. Link again to sequence DPX

  Standings:

  6. start ranking primary, secondary

  Export

  ---> 7. The part the more delicate that I must apply luts limiting to conform to the user end monitors, projectors...

  ---> 8. Good format, if I chose DPX format to ingest the rank with, how to export a single file like Mov H264.

  For example, when I use ranking Speedgrade a DPX sequence and then want to restore a file H264, I will eventually get the sequence just like unique dpx popular with extention mov, but not a single file.

  Maybe we can bring light into the big advantage of the F55 and ACES )

  Bravo and thank you very much.

  thebird wrote:

  First of all a big hello to everyone

  Today I received my new sony F55 and I feel very comfortable with the camera, of course a few things that are missing sill, as the HFR and exposure tools, but that's another thread. Here, I want to discuss, as says the subject, ACES workflow with raw F55.

  And to be honest, I want to keep it as simple as possible.

  Lets start with the basic things:

  0 configuration double shooting (SxS and FIRST):

  1 eat them both

  2 use the SxS equipment for editing in Adobe Premiere

  3. send an EDL "Davinci Resolve"

  -> 4. Relink raw

  This first method you suggest is go to work. I already did with FCPX, it's quick and painless. Shooting MPEG50 to SxS, raw to the AXS. Ingested MPEG to FCPX, then by solving related to the MPEG initially, but the difference between determination and NLE more is that it expects users to connect new media to and makes it completely painless and quick.

  I don't mess with DPX except if you need to share with VFX shots, in this case it is the standard.

  Even then, frankly, I would still make the first method MPEG offline and just do DPX for people who need them, as appropriate.

  #7 & 8 points

  7 - ACES uses an output module to target what is available that you will. So if for HD video, select you the ODT (output to a display Transform) to Rec 708. For the web, you could choose Rec 709 or a sRGB ODT.

  8 - resolve can create quite a few outings, including video MPEG4 (although VERY high speed).

  Will is not always the right tool, but it seems he got cevered to your needs, even the Lite version free.

• Clips on a shoot with two cameras

  I'm was scheduled to begin shooting a film in a few days, which will involve my F55 and an F5 as second camera. For installation, there will be a PMW-200 as the third camera. Just called me to say the naming convention clip that they wish to use for both cameras, and I just got the eggy conversation where I explain that this is not possible right now. The firmware was updated. To come. Blah blah.

  The cameras will be time synchronized jam.

  I wonder if someone has suggestions for how unambiguous and easily differentiate between the two cameras. The ideal would be to change the clip naming, perhaps in the content browser, but I don't see a way to do this.

  Thanks for this Leon. Clip browser it and let the wrangler data to worry about this. We are actually recording to SxS rather raw, so I hope that with my setup enough vanilla and a very little bit of tweaking things must be upward. I intend to shoot mechiers at the head of each location.

  200 gets specific coverage for a scene so I'm not too worried about the match up there; This choice of camera was production and dictated by the budget.

  Speaking with the customer we discussed lockits, but decided to digislate and frequentish jams. Years ago, I came across a problem with a specific batch of Digibetas that has blurred the timecode so continually fed an external signal. It was salvagable to the end, but headache than the left lingers as well with the other weaknesses that I'm getting used to this camera and after having heard about free delivery issues, others have mentioned I thought it is better to let the lockits this time!

  I am in England so shoot 25 p. So far, I used the camera with the crossing record, in part because of talk of free running jumps (possibly a message by you). What was your rate when you have had free delivery issues and you have noticed with firmware 1.13?

• Dead on new DVF-L700 pixel

  Right Out of the box my new DVF-L700 has a dead pixel considering this is a replacement unit after the encounter the same problem, I'm starting to wonder about the quality checks at the Japan! Someone else who has experienced?

  It's weird. We tested the monitor 1 on 2 F55 and the same dead pixel was visible. This is certainly a dead on the screen pixel. Now, I tested the 2nd monitor with SDI (the F55 no) signal and it was very good. So I recorded a black signal off the F55 and looked into the content browser. I was scared to death when I saw the dead on recorded media pixel!

  So I called my distributor of Sony. Then he gave me this magic trick: 3 black balances in a row. I did it... And the problem was gone. I repeat: 3 balances black to get rid of them pixels dead. It's a trick that works with almost all cameras Sony CMOS.

• Future upgrade of the Firmware MENU suggestion / query

  May I ask you please to the system menu appears on the LCD screen on the side of the camera? This screen greys in any case when look at a menu in the viewfinder, is there any reason why it can't be used as a screen to menu access instead of graying of?

  I bought the new OLED viewfinder with my F55 and it's wonderful. However, it quickly became obvious to me when set up the camera or the menu system how much I already miss my flip to the previous cameras viewfinders where I can step of learning from the viewfinder to make adjustments to menu. (when I step to OLED viewfinder, it white this menu disappears).

  I guess I can feed the menu on to another monitor etc, but when you're traveling light, a monitor attached to the camera for purposes of access to menu is not really practical for me.

  Thank you very much

  Tom

  Tom,

  Thanks for the comments, noted

  Concerning

  Peter

• NEW Version 2.0 Viewer BRUTE

  All,

  We are proud to publish the new version or RAW Viewer 2.0

  RAW Viewer is a powerful software suite, which allows the best demosaicing RAW Sony quality currently available. With just a few clicks of a button, you can debayer, rank and transcode your content CRUDE. We have also implemented RAW recovery.

  Many powerful new features is implemented in this version.

  Highlights in this release are PRORES export and HDCAM SR visually lossless file export options.

  We will publish a full tutorial and documentation of new features in the next few days

  

  

  

  

  

  What's new

  
  
  • Support 2 K RAW photographed by F55 and F5 with R5
  
  
  • SDI Monitor output
  
  
  • Control CSA - DCL by ball Tracker Panel
  
  
  • ProRes export
  
  
  • Record of HDCAM SR, SR - SQ, export of SR - HQ
  
  
  • 1.3 x Preview anamorphic
  
  
  • Export de-anamorphic HD video
  
  
  • Recovery of F55RAW clip

  Recommended environments

  Mac
  Operating system: OS X Lion (10.7) / Mountain Lion (10.8) 64-bit
  HARD drive: 100 MB of free space
  CPU: Intel Core i7, Xeon (Nehalem and later versions)
  Memory: 4 GB or more
  GPU: AMD Radeon HD 5000 or 6000 or 7000 series
  Model: Mac Pro Mid 2010, 2011 mi iMac, MacBook Pro early 2011 and later

  Windows
  OS: Windows 7 (Service Pack 1) / 8 64-bit
  HARD drive: 100 MB of free space
  CPU: Intel Core i7, Xeon (Nehalem and later versions)
  Memory: 4 GB or more
  GPU: NVIDIA GeForce 400 or 500 or 600 series

  Concerning

  Peter

  ProRes Export work under Windows?

  I can only see DPX, OPEN exr, MXF, Windows without found prores

  also made of woks with AJA Kona 3 g SDI card Quadro 6000 SDI?

• Light in the camera body

  I was shooting this morning with the sun shining at 90 degrees to the right of my F55 and noticed a flair purple diagonally crossing the frame from the top of the page to the right and down left. The Sun was not round enough to be in the lens, nothing reflected in the lens, the box mate doughnut was tight against the lens and the lens is very savvy. So I started control the right side of the camera by striking off the coast in the sections. Finally I found that when I the shade next to the viewfinder connection the flare disappeared. A few days I had previously taken the cache connection rubber vf off the unit until it comes off and lost. This cover has keep a small piece that goes into a slot on the side of the camera, and this slot has now been exposed. That seemed to be where the Sun came in and put on the sensor. I covered her with a bunch of the camera and the flare diappeared.

  Now, it is possible that something was happening that I have not noticed in time, I had and I hope I'm wrong. If I'm not, then this means that the area of the sensor is not sealed and therefore vulnerable to dust and moisture coming through this opening? The vf rubber connector cover is not a reliable seal, if this crack opens in the body of the camera, and then I think this is a pretty serious problem.

  I can't wait to hear back from Sony about it.

  
  

• Qosmio F55 - LCD replaced and brightness controls are reversed back

  Hello

  the LCD for my Qosmio F55-Q502 cracked and I ordered the same room and when I installed it, everything works fine and everything but the brightness up and down are reversed. As Fn + F6 makes more brilliant while Fn + F7 makes it more dark? The first that comes with it is a lp154wp1 (tl) (e1) but I had is a lp154wp1 (tl) d1).

  Does anyone think that the bit of a variation of the model can do reverse controls? Even on Windows when you cursor to the right BRIGHTNESS, it darkens and to the left, it illuminates. For anyone else who needs information on their Qosmio F55, the original is also a lp154wp1 (tl) (e1) and also known under the name of lp154wp1 (tl) (a3) which is written on the Board of the lcd screen. The replacement lp154wp1 (tl) (d1) is also known as a lp154wp1 (tl) (a2) also wrote on the lcd dashboard

  Any suggestion or help would be appreciated!

  Hi hulkster,.

  Where you have ordered the new view and it are a Toshiba original spare part?

  If yes I would contact an authorised service dealer or the store where you bought it. In my opinion the screen is not 100% compatible for your model. This would also explain the different reference numbers you posted