The Sony FS5 II is no revolution from the prior version, however, it’s still one hell of a camera. The size of the camera body is surprising — it’s smaller than you might think — but this version includes in the base package both of the upgrade packs available for the original FS5. Plus, Sony even upgraded the already great built-in neutral density filter. Even with all of that, the price is lower than that of the FS5 was when that camera was first released.
So, what is new with version II?
Looking at just the specs, not much has changed on the FS5 II compared to the FS5. The sensor and the body are the same, but the FS5 II includes the ability to output 4K RAW via the SDI output and to internally capture continuous HD video at up to 120 frames per second. Those these features are available as upgrades for the original FS5, they each came with a $500 price tag.
The two big changes to the camera outside of unlocking available features are the new color science borrowed from Sony’s flagship Venice cinema camera and a mechanical ND filter wheel along with the very useful electronic ND. Sony says that the new color science should offer “rich mid-range colors, alluring facial tones and a softer tonal look.” We agree that the camera has a new look. We found it pleasing, though we also liked the color from the original FS5. The thing to be aware of is that, because of the new color science, footage from the original FS5 and the new Mark II won’t match out of the box. We don’t think this is a huge issue because most viewers these days are inundated with video from multiple cameras on a daily basis.
Now, let’s talk a bit about the ND — it is the best part of a great camera. The electronic ND filter is the same as the one first offered in the FS5. That 1/4 to 1/128 stop ND can slide through the stops, offering the perfect ND for any exposure. Think of how a slide trombone works: It can slide through notes, offering everything in between. So does the electronic ND. The Sony FS5 II adds in mechanical 2, 4 and 6 stop ND for even quicker operation.
If you are ready to upgrade to a video-first camera
The FS5 II is the camera to go to when you want an easier way to capture video. Sony offers an impressive mirrorless camera lineup, but these cameras have a 30-minute record time limit for video clips, offer only a 1/8 inch audio input and don’t include ND filters. Many shooting situations just can’t handle those restraints. The FS5 II is the obvious next step when moving out from behind the photo first camera that can shoot video to a camera designed specifically for video capture. When you’re shooting lots of videos, you need XLR audio inputs, full manual control via external buttons and a record time limited only by the size of the media.
The FS5 II is the obvious next step when moving out from behind the photo first camera that can shoot video to a camera designed specifically for video capture
The grip is wonderful to use. If you are using a camera with a servo-controlled zoom, there is a rocker for your fingertips. The grip itself is easy to attach and can be installed with one hand holding the camera and the other the grip. It just clicks in — no tightening needed. The grip offers a joystick for menu navigation and, of course, a record button. There are two assignable buttons: 4 and 5. Button 4 is labeled focus mag for gaining sharp focus, but both buttons can be assigned to whatever you’d like. Lastly, there is a dial for easy change of the aperture or other controls.
Internal capture is good, external is fantastic
The camera captures internally to SD cards. Choose from XAVC QFHD for UHD 4K or XAVC HD and AVCHD for HD. With a maximum bit rate of 100 megabits per second in UHD 4K, it can also capture up to 120 fps in 1080. Lastly, you can capture proxies and full res video at the same time by recording to both of the card slots simultaneously.
Now, the big upgrade to the capability of this camera is what it can do when video is captured externally. At the same time as the FS5 II was announced at NAB 2018, Apple announced ProRes RAW, made possible with a few partners including Atomos and the Shogun Inferno. With the Shogun Inferno and an FS5 II, you can capture up to 10-bit ProRes RAW. Today, you can also pair the FS5 II with the Convergent Design Odyssey 7Q for the same functionality.
Some won’t take advantage of the ProRes RAW option because the format can currently only be edited in Final Cut Pro X. In that case, regular ProRes or DNxHR encoding is also available. However, if you have the storage space and the workflow to support shooting in 10-bit, it’s a very nice luxury to have.
Need dynamics? Then you need log.
Sony touts 14 stops of dynamic range with the FS5 II. When you need dynamic range, shooting in log is the way to get it. Read our article “How to Use Log Video to Gain More Control Over Your Image” to learn more about shooting with a log curve. In addition to the seven standard picture profiles, the FS5 II has two flavors of log: S-log2 and S-log3. S-log2 offers more dynamic range to cameras with 14 stops of dynamic range or fewer. On the other hand, part of the benefit from the newer S-log3 is its capability to work with more than 14 stops of dynamic range, so its advantages are wasted on cameras with a smaller dynamic range.
What it’s like to shoot
The camera is about the size of a grapefruit, and the body only weighs 1.8 pounds. Depending on the lens you use, the full setup can easily stay under 3 pounds. For on the go shooters like documentarians, wedding and event videographers and news gathers, the FS5 II is a lightweight choice. For our review, we shot mostly on the Sony G-Master 24-70mm f2.8 lens. The Super 35 sensor offers a 1.5 times crop factor, giving the 24-70mm lens an effective focal length of 35-105mm. We didn’t need anything too wide, so this lens worked well. For wider shooting, the 16-35mm F.2.8 G-Master lens would work well. Sigma offers Sony E mount zooms for those who are on a budget but still want high quality.
The grip and the monitor make the camera easy to operate if you have to shoot at low or high angles. Because it’s light enough, neither angle is a chore to shoot. The ND makes keeping the shallow depth of field in high lighting situations a cinch. The quick switches for ISO and white balance make going in and out of different lighting situations easy.
Any time we needed to use the menu it was fast and responsive. Even when changing resolutions and formats, the restart of the camera was quick. Everything about this camera is quick, meaning it’s ready for just about any shooting situation its thrown in to.
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Slow-Mo fo’ sho
The FS5 II has great slow-motion frame rates with the option to shoot up to 960 frames per second internally. If you need higher frame rates than that, you’ll need a specialty camera. The only catch is that frame rates higher than 60 fps have lower and lower quality up to 960fps. Also, those high frame rates have a limited record time, though many things you want to capture in high frame rates only last a few seconds anyway. With the end trigger recording, you can tell the camera when to end the shot and it will record the few seconds before that. We were not impressed with the quality of the video shot at any of the higher frame rates. Although you can capture at that high of frame rate, the video quality is junk, so you better need the slow-mo more than you need a good looking picture.
Shooting with a monitor/recorder attached
Here is the rub with having to use the Shogun Inferno or Odessey 7Q to capture better video: It’s bigger than what’s needed. In fact, we would love to see something that is small and can be mounted without bogging down the camera. During our tests using the Shogun Inferno, we determined we wanted the expanded recording capabilities more than the external monitor. The larger screen is nice, but not always necessary. Battery and media included, the Shogun Inferno adds 2.4lbs to the rigs weight. It drastically changes the center of gravity, so handheld shooting is much different with the monitor. It’s not a deal-breaker by any means, but it’s something to be considered.
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Low-light, rolling shutter and moiré tests
Like we do with every camera that comes through the Videomaker Labs, we tested the FS5 II’s low light performance, rolling shutter effect and moiré. Starting at the lowest ISO and ramping up to the highest, while adjusting the shutter speed to compensate, we look for where noise is introduced in the picture. This will allow you to understand what kind of low light performance the camera offers. When not shooting log, the base ISO is 800. By doubling the ISO, we are able to see the performance at every stop. The FS5 II has visible noise from the get-go, but it’s not distracting if you’re not looking for it. Each stop offers a bit more noise until you get to ISO 3,200, where it starts to be noticeable. By ISO 6,400, the full picture has noise. At ISO 12,800, the size of the noise gets larger. The camera can go up to ISO 32,000, and even though there is significant noise at that level, the picture integrity is still there and the colors are still true.
Panning the camera from left to right shows if vertical lines bend from the rolling shutter. Starting with slow pans going up to whip pans, the camera has some rolling shutter but not enough to be concerned about. To test the moiré of the camera, we shot our DSC Sine Chart. The camera does not offer any moiré issues. All fine lines are still and look good.
Marketplace
Sony has priced the FS5 II very well. It is the cheapest interchangeable-lens cinema camera that shoots 4K. However, because it doesn’t allow for internal 10-bit 4K video, you’ll need to purchase a monitor/recorder to get the most out of it. Keep that in mind as we cover the competing cameras. Add $1,300 to account for the cost of a Shogun Inferno to the FS5 II’s base cost of $4,750, and that’s a total of $6,050 to get 10-bit video.
First up is the Canon C200, the closest in weight to the FS5 II, though it’s just less than twice the weight. The C200 costs $7,500 and captures internal 10-bit to Canon RAW light. The monitor on the C200 is nicer than the FS5 II, and overall, the C200 is a bit more robust of a camera.
Next, is the Panasonic EVA1 at $7,400. It captures 10-bit video internally and offers 5.7K RAW out its SDI. The EVA1 is heavier than both the C200 and FS5 II at 4.5 pounds naked.
Last is the Blackmagic Design Ursa Mini Pro 4.6K, priced at $6,000. It can capture CinemaDNG and ProRes 444 internally. However, it’s the heaviest and least portable camera at 5.1 pounds.
Final Thoughts and Recommendation
The Sony FS5 II has so many great qualities, including its price. We love the electronic ND filter and are impressed by the video quality captured externally. The internal capture was good, too, but video captured externally was exceptional. With 14 stops of dynamic range, we were very impressed in the detail and tonal reproduction of the camera. The camera is impressive, and for shooters who need their tools light and ready for anything, the Sony FS5 II is a camera that shouldn’t be overlooked.
SUMMARY:
STRENGTHS:
- Lightweight
- RAW output
WEAKNESSES:
- Needs Monitor for 10-bit 4K capture
RECOMMENDED USES:
- Narrative Filmmaking
- Documentary Filmmaking and Journalism
- Corporate and Event Videography
- Marketing Video Production
TECH SPECS:
- Image Sensor Size: Super35
- Sensor Type: CMOS
- Sensor Resolution: 4096 x 2160
- Effective Sensor Resolution: 3840 x 2160
- Gain: 0 to 30 dB (Native)
- Lens Mount: Sony E-Mount
- Built-In ND Filter: Mechanical Filter Wheel with 2 Stop (1/4), 4 Stop (1/16), 6 Stop (1/64) ND Filters and a 1/4 to 1/128 Stop Electronic ND Filter
- Built-In Microphone Type: Stereo
- Recording Media: 1 x SDXC/Memory Stick PRO Duo Hybrid Card Slot, 1 x SDXC Card Slot
- Recording Modes:
- XAVC 4:2:0:
- 3840 x 2160p at 23.98/25/29.97 fps
- XAVC 4:2:2:
- 1920 x 1080p at 50/59.94 fps (50 Mb/s)
- 1920 x 1080i at 50/59.94 fps (50 Mb/s)
- 1920 x 1080p at 23.98/25/29.97 fps (50 Mb/s)
- 1280 x 720p at 50/59.94 fps (50 Mb/s)
- AVCHD:
- 1920 x 1080p at 50/59.94 fps (28 Mb/s)
- 1920 x 1080i at 50/59.94 fps (24 Mb/s)
- 1920 x 1080p at 23.98/25/29.97 fps (24 Mb/s)
- 1920 x 1080i at 50/59.94 fps (17 Mb/s)
- 1920 x 1080p at 23.98/25/29.97 fps (17 Mb/s)
- 1280 x 720p at 50/59.94 fps (24 Mb/s)
- Gamma Curve: S-log2, S-log3
- Raw Output: SDI/BNC: 4096 x 2160 10-Bit at 60 fps
- Video Connectors: 1 x BNC (3G-SDI) Output, 1 x HDMI Output, 1 x Multi/Micro USB A/V Output
- Audio Connectors: 2 x 3-Pin XLR Mic/Line Level (+48 V Phantom Power) Input, Other I/O: 1 x RJ45 LAN, 1 x 2.5 mm Control
- Wireless Interfaces: 2.4 GHz Wi-Fi, NFC
- Display Type: LCD
- Screen Size: 3.5″
- Touchscreen: Yes
- Screen Resolution: 1,560,000 Dots
- EVF Display Type: OLED
- Screen Size: .39″
- EVF Resolution: 1,440,000 Dots
- Battery Type: Sony BP-U Series
- Dimensions: 4.38 x 5.07 x 6.79″ / 111.3 x 128.7 x 172.4 mm (With Protrusions)
- Weight: 1.8 lb / 830.0 g