Interesting that it's not Netflix approved, as I've shot an entire feature on an FS5 that is currently available to watch on Netflix, no issues at all. Totally agree with the menu issues... I used to have the change the white balance by selecting the shutter speed then using the nipple switch to push across to the white balance then adjust from there. It is a bit of a pain but again, once you get used to it, it's a great camera.
You must have sneaked in, ha ha. There are workarounds for getting content on Netflix without shooting on an "approved" camera. Good for you though. Wow! That's such a hassle. You'd think something as frequently changed as the white balance would be a lot easier to get to.
Based on what i was told the “Netflix approved” is kinda like a guideline but it really only applies to Netflix originals/Netflix productions that has yet to be shot, if your work is acquired/licensed after the work is done you are able to circumvent the Netflix approved camera step.
I had a FS5 for a few years. Use to send the RAW video out the SDI to an Atomos Shogun. I was clunky but gave me more frame rates and more control over the image. It became to much to carry and setup and I traded it in for to get a FX3. Miss the internal ND but don't miss the bulk.
I totally get both of those drawbacks. Internal ND is a must for me personally and form factor, size, weight, and accessorizing is a really undervalued and rarely considered feature to cameras. Both of these features you mentioned come down to the user experience and hassle of spending extra time adding components to a camera when you feel it should automatically come with that capability. Thank you for your input.
With the Atomos Shogun Inferno you have 4k RAW and is amazing. Also, all the things that you are complaining about (the buttons and fully manual) I can do all of that easily with the external buttons. you don't need to go to the menu, that's the point of having so many buttons on the body so you can change things fast. And you can do a lot of combinations with all the user configurable buttons, is really helpful. Is really easy and saves tons of time. You should read the original manual of this camera. Have fun!
Your point is valid and certainly most Sony users will get used to Sony's system and be able to easily navigate it. That said, Sony has not made it as intuitive as other camera companies right out of the box. The fact that by default the camera is setup to not allow you to change the white balance within their best picture profile using the white balance buttons on the camera body is frustrating to me. Can you configure the buttons to do this? I'm sure, but shouldn't that be a default? Canon and Black Magic make this easy. Given enough time with this camera, you can certainly make it work super well for you, but I still feel this is a flaw.
@@user-f5xt2op9t Awesome feedback. Thank you so much. Sony's variable ND is seriously an industry game changer. Everyone else needs to jump in on this tech. I've never tried 12-bit color or RAW but I'm sure they are killer. Thanks again for sharing.
There is a lot of misinformation about the Netflix approved camera reqs out there. If you are working on a Netflix production that is commissioned by Netflix themselves, then you have to use their approved camera. But Netflix will still buy the rights and stream projects that are not shot with any of those approved cameras. You can shoot a whole film on the Sony FS5 and it could end up on Netflix anyway. It really depends on the distributor or agent that reps your film. Also, you can’t sell a movie script or pitch to Netflix directly, it doesn’t work that way. You need an agent and if you don’t have one, they won’t talk to you. You need a distributor that can get your film to Netflix too. So again, the camera requirements really don’t matter much. As long as it passes QC and meets deliverable requirements for streaming on most platforms, that’s enough for distribution.
Yes, most filmmakers/videographers will never distribute on Netflix. It's just a nice standard to consider when investing in gear because it automatically tells you many of the capabilities that camera will or will not have.
100% true. I've shot a full feature on an FS5 which is currently on Netflix so yes, only an issue if it's directly commissioned, not 3rd party purchase.
The color temperature thing when shooting slog2: Keep picture profile 7 as is at slog s-gamut/3200K Copy those settings to picture profile 8 and 9 and adjust the kelvin for each one. This way u can quickly change between 3200K, 4300K and 5600K You can go to the picture profile settings via button on the body
Ooh, nice hack. That's really helpful. Still don't understand why Sony didn't make this a quickly accessible setting to change. Seems like a no brainer. Frustrating users have to clean up after their mess like this, but really helpful solution; thank you.
I don't think it is something to harp on. Some people like a little softer look, others like really sharp, and others right in between. There's nothing intrinsically better about one over the other. All personal preference. I didn't notice the FS5 being particularly soft, but perhaps it is. I may have to look at it more closely.
I’m used to shooting in the Sony family - nx5u, z5u etc. I just need to check what mounting system it accepts for glass. I’ve got a whopper of a lens - huge one for a broadcast camera that I’d like to try on it!
I still use mine when I need a second camera. Needs more light than the FX3, obviously. I still like it, but there's something small and plastic that snuck in and is rattling around inside. Dunno what it is. So I try not to shake it around too much.
Nice review! I just got my very low hr FS5 last week , and love it. Still have my HXR -NX3 , which is good also, but the FS5 is a big step up. I have paired it with the Sony 18 -110 GOS which is a beautiful lens. The XLR setup is weird , and as I use a stereo shotgun , I'll have to live with this. Cheers Gregg.
Awesome! Good for you. That is so exciting! The XLR setup is a little weird for sure. I like having XLR on the body in principle because it allows you to always have a sound option no matter your rig setup, however, I always use a top handle unless I am gimbaling, and I rarely need audio when I'm gimbaling, so it's not been crucial for me. Still, two on body XLRs would be nice in my opinion.
@@ginger_dog Yes GD , 2 XLR's on the body would be great ! I'm sure you've worked it out by now , but fyi , the white balance will be in aoto if you don't see the WB selector , A or B in the display, hit the WB button to switch between auto and man. Also the Iris will be in auto if you have the ND /iris switch set to Iris and in auto. I only found the "last scene" button yesterday..LOL CHeers Gregg.
How do you feel about slog2 and hlg2 on the fs5? Also the fs5 is 1080p 10bit 4.2.2 right out the door? Idc about 4k like that, I love soft cinema feel that it gives. When I got the camera the owner have the upgrade installed, so let me ask you what's the upgrade for? Sorry I'm new to the fs5, hell I'm new to it all. Thx ya for the video 🙏🏽
Ha ha! I'm new to the Fs5 too. I'm a Canon owner. Unfortunately, I only had this camera for a couple of short days. It's my best friend's so I should be able to work with it more. I only shot on the Slog2 for the best picture profile settings the camera offers. I'm unfamiliar with the upgrade compared to the out of the box abilities. Can you elaborate?
Yes the XAVC-L 1080p is 10 bit 422. When shooting internal 4K I'd avoid Slog as much as possible (not enough color information due to 8 bit recording). Personally I avoid Slog3 entirely on the FS5. Also when shooting RAW, for best results, use Slog2 (the major downside of RAW on the FS5 is the fact you have to be in Slog profile). Regarding the upgrades, there's the HFR upgrade for 1080p 100/120fps continuous recording. RAW upgrade for 12 bit DCI 4K via external recorder. There's another upgrade which is not worth mentioning in my opinion. Anyway, both of these are included in the FS5 II.
@@ginger_dog forgot to mention: the variable nd is an absolute godsend! It gets really interesting when you turn on auto nd (I mapped it to a custom button on the handgrip). Set the AE shift around +1.5 (when you're shooting Slog) and the auto nd will keep your exposure at +1.5. Perfect for run and gun shoots, which is the main selling point of this camera for me. Once you've tried it, it's hard to go back to mirrorless/dslr.
Oh nice, I wasn't aware of that. Thank you for sharing. That's kinda odd, I think, that Sony would make it capable of that aspect ratio for that one mode, but not all of the others.
@@ginger_dog I think the logic behind it is that the raw sensor output is 4K, but they mistakenly thought their target market only wanted UHD. When it comes to pro features, it’s not that great until you exploit its stunning raw capability. That does rather transform it, as it also did to it’s predecessor the fs700. Both cameras are undiscovered gems.
@@Phil-Dickinson-Studios Yeah, I haven't ever understood why companies do that. If it is capable of external recording specs, make them internal and give users the options. Maybe it takes more hardware or firmware to do that than I realize.
I personally would do the Fs5 for documentaries and weddings. Variable internal ND is the best for run and gun live scenarios like weddings and documentary b-roll. One XLR port in the camera body itself does not make you dependent on the top handle for audio (though I'd probably always use the top handle for both cameras.) The vast array of recording formats, bit depths, and resolutions is far better on the Fs5. Yes, there are drawbacks to this camera for these applications, but between the two, I think it is the one to go with for now. Have you invested in any lenses already? What is your budget for either camera body or body + lenses?
@@ginger_dog I ended up buying the c100 mk ii for $900 last night. I currently already own a canon 24-105 f4, no Sony lenses. I couldn’t find very much info on the fs5 here on yt so that forced me to make a decision quick before another seller bought the c100. My budget is $1600. Think I’m gonna add the canon 17-55 2.8 or sigma 18-35 1.8
@@nitablackwood6301 Well, the C100 Mkii is the camera I currently own, and it's a workhorse. $900 is a great deal. Well done. I'll be posting more and more content on that camera since it is what I have, so hopefully this channel will be helpful to you. The Sigma 18-35 ART lens is one that I own and highly highly recommend. You might consider some vintage prime lenses especially for weddings if you can nail manual focus well. I have some videos on all that that you might check out. Best of luck and I'm sure you will love the camera. It's been a great one for me.
Good for you. My hangup is they are not intuitive for first time users. Canon (and I've heard Black Magic) make most common settings adjustments intuitive to locate and very quick to access either on the camera body or early in the menus. Given enough time with Sony, you will learn their system and be able to make these changes almost as quickly, but it takes time to learn where things are and I find this to be a design flaw. Experienced Sony users will master the menus and these cameras are beasts often giving you more features at their price point than the competition. I just find them to be designed in a more complex way than is necessary.
Netflix approval only really matters when they hire you to do something right? If you have a Netflix budget you're probably going to rent a high end camera anyways. If Netflix wants to buy your film you already made, it doesn't really matter what you shot it on as long as they like it.
So yes and no. 1. Netflix approval only really matters if your film is going on Netflix. I specify that it is nice to be Netflix approved even if you don't intend to distribute on that platform because their standard is becoming the gold standard for online distribution. If you pass with them, there really isn't another platform that you wouldn't be able to get on because of gear. 2. Yes, if you have a Netflix budget, you will probably rent. If you work full time making content for Netflix, however, you will probably buy. Depends on the person. 3. To my knowledge, Netflix will not put a film on their platform that is not shot primarily on a camera from their approved list. Can you film portions with an old film camera or include clips shot on SD from the 90s? Yes, if it makes sense for your story/subject matter, but most footage has to come from an approved camera. My main point with this part is that the specs that it takes to be Netflix approved are useful for all VOD platforms. If you pass with them, you are good to go everywhere else.
@@ginger_dog I understand your point. What about any recent movie shot on film that's on the platform? Or older movies shot on the not-approved Alexa, that are also on Netflix? I feel like the approved list (when it comes to narrative especially) only really applies to Netflix originals / projects produced & commisioned by Netflix. Right?
@@botbot3698 Now that could be. I have not tried to submit anything to Netflix, so I'm going off of their website or things I hear from other TH-camrs. I'm sure they make exceptions for things shot on film and probably older content that is popular and they know will have an audience. I wouldn't risk shooting anything new on a non approved camera for them unless you have the green light from them.
Still rockin my fs5m2 in 2023! I always use it with a shogun inferno though rarely record internal only. Great camera.
That's definitely the way to go with this camera. Good for you; way to go!
Interesting that it's not Netflix approved, as I've shot an entire feature on an FS5 that is currently available to watch on Netflix, no issues at all. Totally agree with the menu issues... I used to have the change the white balance by selecting the shutter speed then using the nipple switch to push across to the white balance then adjust from there. It is a bit of a pain but again, once you get used to it, it's a great camera.
You must have sneaked in, ha ha. There are workarounds for getting content on Netflix without shooting on an "approved" camera. Good for you though.
Wow! That's such a hassle. You'd think something as frequently changed as the white balance would be a lot easier to get to.
Based on what i was told the “Netflix approved” is kinda like a guideline but it really only applies to Netflix originals/Netflix productions that has yet to be shot, if your work is acquired/licensed after the work is done you are able to circumvent the Netflix approved camera step.
I had a FS5 for a few years. Use to send the RAW video out the SDI to an Atomos Shogun. I was clunky but gave me more frame rates and more control over the image. It became to much to carry and setup and I traded it in for to get a FX3. Miss the internal ND but don't miss the bulk.
I totally get both of those drawbacks. Internal ND is a must for me personally and form factor, size, weight, and accessorizing is a really undervalued and rarely considered feature to cameras. Both of these features you mentioned come down to the user experience and hassle of spending extra time adding components to a camera when you feel it should automatically come with that capability. Thank you for your input.
With the Atomos Shogun Inferno you have 4k RAW and is amazing.
Also, all the things that you are complaining about (the buttons and fully manual) I can do all of that easily with the external buttons. you don't need to go to the menu, that's the point of having so many buttons on the body so you can change things fast. And you can do a lot of combinations with all the user configurable buttons, is really helpful.
Is really easy and saves tons of time. You should read the original manual of this camera.
Have fun!
Your point is valid and certainly most Sony users will get used to Sony's system and be able to easily navigate it. That said, Sony has not made it as intuitive as other camera companies right out of the box. The fact that by default the camera is setup to not allow you to change the white balance within their best picture profile using the white balance buttons on the camera body is frustrating to me. Can you configure the buttons to do this? I'm sure, but shouldn't that be a default? Canon and Black Magic make this easy. Given enough time with this camera, you can certainly make it work super well for you, but I still feel this is a flaw.
@@user-f5xt2op9t Awesome feedback. Thank you so much. Sony's variable ND is seriously an industry game changer. Everyone else needs to jump in on this tech. I've never tried 12-bit color or RAW but I'm sure they are killer. Thanks again for sharing.
There is a lot of misinformation about the Netflix approved camera reqs out there. If you are working on a Netflix production that is commissioned by Netflix themselves, then you have to use their approved camera.
But Netflix will still buy the rights and stream projects that are not shot with any of those approved cameras. You can shoot a whole film on the Sony FS5 and it could end up on Netflix anyway. It really depends on the distributor or agent that reps your film.
Also, you can’t sell a movie script or pitch to Netflix directly, it doesn’t work that way. You need an agent and if you don’t have one, they won’t talk to you. You need a distributor that can get your film to Netflix too. So again, the camera requirements really don’t matter much. As long as it passes QC and meets deliverable requirements for streaming on most platforms, that’s enough for distribution.
Yes, most filmmakers/videographers will never distribute on Netflix. It's just a nice standard to consider when investing in gear because it automatically tells you many of the capabilities that camera will or will not have.
100% true. I've shot a full feature on an FS5 which is currently on Netflix so yes, only an issue if it's directly commissioned, not 3rd party purchase.
Did you edit this in a High Framerate timeline? . Footage looks like it’s in 60p
Not that I remember. I think it was 30 fps.
The color temperature thing when shooting slog2:
Keep picture profile 7 as is at slog s-gamut/3200K
Copy those settings to picture profile 8 and 9 and adjust the kelvin for each one.
This way u can quickly change between 3200K, 4300K and 5600K
You can go to the picture profile settings via button on the body
Ooh, nice hack. That's really helpful. Still don't understand why Sony didn't make this a quickly accessible setting to change. Seems like a no brainer. Frustrating users have to clean up after their mess like this, but really helpful solution; thank you.
Thank you for putting this together. I always wondered about the 4k. Always hear folks say it's soft but is it really something to harp on?
I don't think it is something to harp on. Some people like a little softer look, others like really sharp, and others right in between. There's nothing intrinsically better about one over the other. All personal preference.
I didn't notice the FS5 being particularly soft, but perhaps it is. I may have to look at it more closely.
@@ginger_dog Coo, I understand you on the personal preference.
These look to be the same Sony menus that I’ve grown to love. I’d love to rent one to test it out.
Go for it Dude! I think you'd probably be impressed. What are you used to shooting on?
I’m used to shooting in the Sony family - nx5u, z5u etc. I just need to check what mounting system it accepts for glass. I’ve got a whopper of a lens - huge one for a broadcast camera that I’d like to try on it!
@@GrahamRiverProductio I think you would LOVE this camera. It has an E-mount if that helps. It would be a big step up from the camcorders you use.
I still use mine when I need a second camera. Needs more light than the FX3, obviously. I still like it, but there's something small and plastic that snuck in and is rattling around inside. Dunno what it is. So I try not to shake it around too much.
Ha ha! That's not good.
Nice review! I just got my very low hr FS5 last week , and love it. Still have my HXR -NX3 , which is good also, but the FS5 is a big step up. I have paired it with the Sony 18 -110 GOS which is a beautiful lens. The XLR setup is weird , and as I use a stereo shotgun , I'll have to live with this.
Cheers Gregg.
Awesome! Good for you. That is so exciting! The XLR setup is a little weird for sure. I like having XLR on the body in principle because it allows you to always have a sound option no matter your rig setup, however, I always use a top handle unless I am gimbaling, and I rarely need audio when I'm gimbaling, so it's not been crucial for me. Still, two on body XLRs would be nice in my opinion.
@@ginger_dog Yes GD , 2 XLR's on the body would be great ! I'm sure you've worked it out by now , but fyi , the white balance will be in aoto if you don't see the WB selector , A or B in the display, hit the WB button to switch between auto and man. Also the Iris will be in auto if you have the ND /iris switch set to Iris and in auto. I only found the "last scene" button yesterday..LOL
CHeers Gregg.
@@FishplateFilms Ha ha! Thanks for that. Definitely wish this was a little more intuitive.
How do you feel about slog2 and hlg2 on the fs5? Also the fs5 is 1080p 10bit 4.2.2 right out the door? Idc about 4k like that, I love soft cinema feel that it gives. When I got the camera the owner have the upgrade installed, so let me ask you what's the upgrade for? Sorry I'm new to the fs5, hell I'm new to it all. Thx ya for the video 🙏🏽
Ha ha! I'm new to the Fs5 too. I'm a Canon owner. Unfortunately, I only had this camera for a couple of short days. It's my best friend's so I should be able to work with it more. I only shot on the Slog2 for the best picture profile settings the camera offers. I'm unfamiliar with the upgrade compared to the out of the box abilities. Can you elaborate?
Yes the XAVC-L 1080p is 10 bit 422. When shooting internal 4K I'd avoid Slog as much as possible (not enough color information due to 8 bit recording). Personally I avoid Slog3 entirely on the FS5. Also when shooting RAW, for best results, use Slog2 (the major downside of RAW on the FS5 is the fact you have to be in Slog profile). Regarding the upgrades, there's the HFR upgrade for 1080p 100/120fps continuous recording. RAW upgrade for 12 bit DCI 4K via external recorder. There's another upgrade which is not worth mentioning in my opinion. Anyway, both of these are included in the FS5 II.
@@HalfBaked Awesome! Thank you for the feedback.
@@ginger_dog forgot to mention: the variable nd is an absolute godsend! It gets really interesting when you turn on auto nd (I mapped it to a custom button on the handgrip). Set the AE shift around +1.5 (when you're shooting Slog) and the auto nd will keep your exposure at +1.5. Perfect for run and gun shoots, which is the main selling point of this camera for me. Once you've tried it, it's hard to go back to mirrorless/dslr.
@@HalfBaked Oh, absolutely! Sony rocks the variable internal ND. Love your shortcut!
It does 12 bit true DCI 4K (4096x2160) rather beautifully but does require an external monitor/recorder like one of the many Atomos Shogun models.
Oh nice, I wasn't aware of that. Thank you for sharing. That's kinda odd, I think, that Sony would make it capable of that aspect ratio for that one mode, but not all of the others.
@@ginger_dog I think the logic behind it is that the raw sensor output is 4K, but they mistakenly thought their target market only wanted UHD. When it comes to pro features, it’s not that great until you exploit its stunning raw capability. That does rather transform it, as it also did to it’s predecessor the fs700. Both cameras are undiscovered gems.
@@Phil-Dickinson-Studios Yeah, I haven't ever understood why companies do that. If it is capable of external recording specs, make them internal and give users the options. Maybe it takes more hardware or firmware to do that than I realize.
This vs c100 mk ii which one ? I shoot documentaries and weddings
I personally would do the Fs5 for documentaries and weddings. Variable internal ND is the best for run and gun live scenarios like weddings and documentary b-roll. One XLR port in the camera body itself does not make you dependent on the top handle for audio (though I'd probably always use the top handle for both cameras.) The vast array of recording formats, bit depths, and resolutions is far better on the Fs5. Yes, there are drawbacks to this camera for these applications, but between the two, I think it is the one to go with for now. Have you invested in any lenses already? What is your budget for either camera body or body + lenses?
@@ginger_dog I ended up buying the c100 mk ii for $900 last night. I currently already own a canon 24-105 f4, no Sony lenses. I couldn’t find very much info on the fs5 here on yt so that forced me to make a decision quick before another seller bought the c100. My budget is $1600. Think I’m gonna add the canon 17-55 2.8 or sigma 18-35 1.8
@@nitablackwood6301 Well, the C100 Mkii is the camera I currently own, and it's a workhorse. $900 is a great deal. Well done. I'll be posting more and more content on that camera since it is what I have, so hopefully this channel will be helpful to you. The Sigma 18-35 ART lens is one that I own and highly highly recommend. You might consider some vintage prime lenses especially for weddings if you can nail manual focus well. I have some videos on all that that you might check out. Best of luck and I'm sure you will love the camera. It's been a great one for me.
@@ginger_dog thank you, I will be sure to check it out! Not gonna lie now I’m super curious to check out the fs5.
FS7 imo is better value. They both are about the same price used now, roughly $1000.
That's the beauty of the used market for sure.
Why the big hang up with Sony menu..its easy, have an fs5 and pmw f3, no issues whatsoever, shoot slog, change colour balance in a few secs.
Good for you. My hangup is they are not intuitive for first time users. Canon (and I've heard Black Magic) make most common settings adjustments intuitive to locate and very quick to access either on the camera body or early in the menus. Given enough time with Sony, you will learn their system and be able to make these changes almost as quickly, but it takes time to learn where things are and I find this to be a design flaw. Experienced Sony users will master the menus and these cameras are beasts often giving you more features at their price point than the competition. I just find them to be designed in a more complex way than is necessary.
Netflix approval only really matters when they hire you to do something right? If you have a Netflix budget you're probably going to rent a high end camera anyways. If Netflix wants to buy your film you already made, it doesn't really matter what you shot it on as long as they like it.
So yes and no.
1. Netflix approval only really matters if your film is going on Netflix. I specify that it is nice to be Netflix approved even if you don't intend to distribute on that platform because their standard is becoming the gold standard for online distribution. If you pass with them, there really isn't another platform that you wouldn't be able to get on because of gear.
2. Yes, if you have a Netflix budget, you will probably rent. If you work full time making content for Netflix, however, you will probably buy. Depends on the person.
3. To my knowledge, Netflix will not put a film on their platform that is not shot primarily on a camera from their approved list. Can you film portions with an old film camera or include clips shot on SD from the 90s? Yes, if it makes sense for your story/subject matter, but most footage has to come from an approved camera.
My main point with this part is that the specs that it takes to be Netflix approved are useful for all VOD platforms. If you pass with them, you are good to go everywhere else.
@@ginger_dog I understand your point. What about any recent movie shot on film that's on the platform? Or older movies shot on the not-approved Alexa, that are also on Netflix? I feel like the approved list (when it comes to narrative especially) only really applies to Netflix originals / projects produced & commisioned by Netflix. Right?
@@botbot3698 Now that could be. I have not tried to submit anything to Netflix, so I'm going off of their website or things I hear from other TH-camrs. I'm sure they make exceptions for things shot on film and probably older content that is popular and they know will have an audience. I wouldn't risk shooting anything new on a non approved camera for them unless you have the green light from them.
10 bit makes a big difference.
Makes a huge difference for sure.