sony fs5 lcd screen factory

Original large eyecup that fits over the rubber eyepiece on the camcorder of the Sony HDR-AX2000 camcorder. It is a genuine Sony part, sourced directly from Sony USA. Brand new factory fresh. Free Shipping.View product

Bringing a smaller, handheld form factor to Sony"s line of digital cinema cameras, the PXW-FS5 XDCAM Super 35 Camera System captures UHD video using a Super 35mm-sized sensor for cinematic imagery. Though small in size, it incorporates professional features that differentiate it from consumer and DSLR/mirrorless cameras and make it suitable for use on productions as diverse as cinéma vérité-style documentaries, reality TV, and commercial and corporate applications.

The camera"s E-mount is machined from stainless steel and allows you to use E-mount lenses or accept most 35mm lenses with the use of adapters, including PL, EF, Leica, and Nikon lenses. The camera records in your choice of XAVC-L or AVCHD. It incorporates two SD media card slots that support simultaneous or relay recording. Outputs include both HDMI and SDI and Sony"s proprietary Multi-Terminal. The body also incorporates an Ethernet connector, headphone jack, and XLR audio inputs. All connectors and card slots are covered to protect from dust incursion. The camera supports Wi-Fi and NFC functionality, allowing you live stream from the camera, or control it from a wireless device.

WOODEN CAMERA, INC. IS NOT AFFILIATED OR ASSOCIATED WITH OR ENDORSED OR SPONSORED BY ARRI GROUP, BLACKMAGIC DESIGN PTY, LTD., BOLEX, SA, CANON INC., FISCHER CONNECTORS SA, LEMO SA, NIKON CORPORATION, IKONOSKOP AB, PANASONIC CORPORATION, RED.COM, INC., SONY CORPORATION, OR VISION RESEARCH INC. WOODEN CAMERA, INC. HAS NO RIGHT OR CLAIM TO ANY ARRI GROUP, BLACKMAGIC DESIGN PTY, LTD., BOLEX, SA, CANON INC., FUJIFILM HOLDINGS CORPORATION, NIKON CORPORATION, IKONOSKOP AB, OLYMPUS CORPORATION, PANASONIC CORPORATION, RED.COM, INC., SONY CORPORATION, OR VISION RESEARCH INC TRADEMARK. ©WOODEN CAMERA, INC. 2011-2018

There are many different problems you may be experiencing with your Sony XDCAM PXW-FS5 camcorder. Here is a list of common problems we see with Sony video cameras. Please call us so we can discuss the exact problem you are having with your Sony XDCAM PXW-FS5 camcorder.

Camcorder does not display a picture on the LCD screen but does in the viewfinder. Video camera displays a picture in the viewfinder but not the LCD screen.

There is a problem with the LCD screen. The LCD screen menu does not work. The LCD screen only works when you flip it over and lay it against the body.

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.

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.

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

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.

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.

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 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.

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.

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.

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.

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.

I"ve waited 5 years to write this review, about a new camera model that delivers everything I"m looking for in a professional video camera: Sony"s large-sensor, interchangeable-lens, 4K-capable PXW-FS5 XDCAM Super35.

I’ve waited five years to write this article—a review about love, video cameras, working through issues, and negotiating tradeoffs. I waited to write this article until I found love again. The object of my affection is the Sony PXW-FS5.

When I look back at my old favorite, the Sony Z7U (Figure 1, below), there was a lot to love. Ergonomically, it felt great in my hands. I loved the 12x Zeiss lens that held its own against professional ENG lenses, and with its integrated CF recorder, it allowed me to break the 60-minute MiniDV tape barrier without having to pair it with a DV/HDV tape deck, and it even let me film with a true 30p frame rate. We produced a lot of great video together during a time when my professional career and personal life blossomed—hence my silly sentimental attachment.

There were issues, though. The internal HDV codec left a lot to be desired. I worked through that issue by pairing it with a new-at-the-time Atomos Ninja. Recording the uncompressed HDMI output enabled the Z7U to hold its own against the internal codecs of newer models. But as much as I loved my Sony Z7U, I still wanted a better internal recording codec, and even though I paired it with a Sony Z5U for when I needed a 20x zoom lens, irrationally I sold both the Z7U and the Z5U. Their replacement was supposed to be a pair of NX5Us with internal AVCHD recording on SD cards, but I ended up buying a pair of Sony FS100s.

I chose video quality over both ergonomics and a great lens. This was a challenging transition for me, coming from the ergonomics-centric camcorder world. In my hands, the Sony FS100 (and later FS700) video cameras had all the elegance and design of a block of modeling clay that was supposed to be modeled into something beautiful and practical but comically was mistaken for a finished concept. I know this isn’t true. In 2011, Sony proudly devoted three pages on its website to how they designed the FS100, referring to it as a “cylinder + box theme” and stating that, with the addition of the eyepiece, it took on a symbolic shape overall with video signals “funneled” from a cylindrical lens into a box-like body in the middle and then funneled out through the cylindrical eyepiece. Essentially, Sony designed the FS100 to compete against the design and ergonomics of DSLRs and threw out all the lessons they learned from the successes of their Handycams.

Fast forward to late 2015 and I still had not found the video camera love I had once enjoyed. I appreciated the PXW-FS7 for its improved ergonomics, thanks to its SmartGrip and an LCD that I could actually see when the camera was at or above eye level (Figure 2). But I hesitated because of the investment required. I would have needed to re-invest in Sony BP batteries, and the FS7 required XQD cards. The current XQD V2 cards cost $350–380 for a single 128GB card, compared to $45, at the time of this writing, for Sony 128GB U3 Class 10 SDXC cards. The total package for the FS7 with 28-135mm f/4 PowerZoom lens was priced at $10,499. Once you added a minimal amount of batteries, memory cards, and an XQD card reader, you were into the $12,000 range. I didn’t fall in love enough with the FS7 to spend that much money.

The only thing I wish was a little different is, it would be nice if the 15mm rod could clear the other side, but the xlr port obstructs it. It"s unlikely I"ll need to mount the lcd on the opposite side but you never know.

I have seen a couple alternates fixes pop up. One is on Ebay so I am just going to add a screenshot. Not sure what its made of, if its metal it could be a better solution. The other is pretty pricey but im sure much better quality than the stock mount. Its made by Vocas and is on BHphoto.