That’s because the 10bit codec of the FS5 is too stressed. The more frames you pack in (e.g 60p) the more colour information you pack in (4:2:2) and the higher the colour depth (10bit) the larger file you need to store it all in! The data rate has to go up. Whilst the Sony FS7 in ProRes will give you true 10bit (without banding problems in skies for instance) the FS5’s 10bit mode doesn’t look any better than 8bit AVCHD on the 5 year old FS100. It’s worse in 1080p 10bit than in 4K 8bit where the macro blocking is more sporadic, shown below: Unfortunately this is the worst implemented 10bit image I’ve ever seen.Īny smooth gradation disappears in a cloud of macro blocking and compression. One of the key selling points and something all of Sony’s marketing material for the camera mentions is the internal 10bit 4:2:2 1080p. Problem 1 – Stressed full HD 10bit codec. This camera has a lot of potential, but like with the firmware update for simultaneous monitoring whilst recording 4K internally, Sony will need to move swiftly to prevent further firmware issues severely limiting the appeal of this camera. The Sony FS5 has heavy compression banding and blocking in 10bit full HD, which renders the 10bit recording mode a rather pointless endeavour (goodbye nuanced gradients). It also has a non-codec related problem in the 4K image pipeline (this issue appears to be a bug, depending on what picture profile and ISO is selected). The Sony FS5 has had a largely warm welcome from the video community but there has been one thing bugging a lot of owners and potential buyers alike – the quality of the internal codec.
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