CAPTURING EMOTION WITH THE SONY HDC-F5500
“I just pulled all my HDC-2500 CCUs out of the rack and I slotted the HDC-5500 CCUs into it and they all fitted perfectly,” says Ross. “I think we were rigged and on camera in about four hours. It was very simple. If the CCUs had already been in the rack it would have been even quicker. As a standalone you could probably be on camera in a couple of hours in a small venue like that without much cabling.”
The workflow set up for the production saw an SDR feed cut as live by an in-house BBC director with an HDR signal recorded separately for potential future use. The gig was shot in HD, though apart from the obvious requirements for wrangling increased data, Ross doesn’t see a 4K upgrade posing any problems.
to finish of the production. The ability to mix and match with other cameras such as the HDC-3500 or flagship HDC-5500 provides a significant amount of flexibility in the planning, while the look the HDC-F5500 provides is perfect for live work.
“With these you can have a good live look as well as a good post look,” says Ross. “On a lot of other large format cameras, you’re shooting for a grade. These though can do live OB with a cinematic look easily.”
“I WANT TO USE THE HDC-F5500 WHEN I CAN FROM NOW ON. IT’S THE BETTER WAY TO DO IT”
“The quicker set up time is a big bonus,” he says. “The vision engineer is able to do everything from their station and has full control over everything rather than having to walk around the venue and fiddle with each back as you would have to do with the larger digital cinema cameras. The camera crew loved it too. To be shooting on system cameras without all the additional hassle and with a proper viewfinder rather than an LCD monitor is brilliant for them.”
That same attention to detail in design and resulting ease of use runs from start
And having been one of the first in the country to use the HDC-F5500 in anger, Ross is already a confirmed fan.
“The big selling point is the ergonomics, compared to a digital cinema camera with a
back unit; the ease of it coming together and the ease of getting signals out,” he says. “We can probably do it cheaper on other cameras but it’s not as flexible. I want to use the HDC-F5500 when I can from now on. It’s the better way to do it, and that’s the quote I’ll give.”
ES Broadcast is Europe’s only rental house with a fleet of Sony HDC-F5500 channels. The cameras are available to rent for your next shoot.
T +44 (0)1923 811 520 E
bookings@esbroadcasthire.com
Sony’s HDC-F5500 in action at the Montreux Jazz Festival
It’s not just the HDC-F5500 camera’s superb large format, Super 35mm 4K sensor and ability to deliver an outstanding cinematic look with PL glass in a live environment that sets it apart; it’s also ease of use, speed of set up, and the ability to slot quickly into live production workflows. The crew should find the camera reassuringly familiar from the get-go.
The HDC-F5500 works seamlessly in any HDC-based camera plan, allowing productions a wide degree of flexibility with camera positions, and can record simultaneously for both HDR and SDR for live deliverables, with 12G-SDI straight out of a compact camera and internal recording to pull stunning high contrast images later in the grade.
Set up is rapid and as simple as racking the CCUs and plugging in the SMPTE fibre, while camera crews also appreciate the quality of the viewfinder (rather than only having an on-board LCD monitor) and the ergonomics of its sliding, adjustable mechanism. Global shutter prevents image distortion and increases the quality of the end picture when shooting in front of LED, maintaining that critical cinematic look and feel under any conditions.
MORE THAN JUST LARGE FORMAT
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