HD Webcasting with the Sony NEX-FS100

Downside of the LA-EA2 Adapter: Light Loss

The downside of using the LA-EA2 adapter is that sometimes the PDAF focuses on the wrong subject, and you lose about 1/3 a stop of light. The base of the adapter sits below the level of the camera body, and PDAF only works at f/3.5 or the fastest iris setting on the lens if it is slower than f/3.5. For example, my Minolta 70-210 f/4.0 lens autofocuses at f/4.0, but transmits light equivalent to f/4.5.

The light loss isn't a big deal on a low-noise camera like the FS100, where a bit of extra gain isn't a big deal. But I don't like the loss of the ability to slide my tripod plate back within its normal range and having to remove the adapter and lens every time I want to remove my camera from my tripod. I plan on adding a simple riser in order to add some clearance, but I can't find a suitable one so I might have one made for me.

Limited Output Options

Output-wise the FS100 is limited by what Sony calls a priority output which means that you can't use more than one of the HDMI, component video, or composite video outputs at the same time, and if you try to connect more than one, the highest quality one takes priority. The Sony NEX-NX5U is the only video camera in Sony's under-$5,000 lineup that has more than one output, and it features both an HD-SDI and HDMI output. Previously, you had to go back to the Sony PD170 to get a camera with two outputs. If I was limited to one output on the FS100 I would take HD-SDI any day.

HDMI is a consumer connection and its specifications are different from the HD-SDI standard in that HDMI interconnects every device that is connected along the chain. You can see this on your computer: If you turn on or off one monitor in a dual-monitor setup, you lose the other connection momentarily. This means if you split the HDMI signal so that the camera operator can use an external monitor and the video switcher gets the other signal. Any interruption in the monitor signal interrupts the video switcher signal.

Top-Mounted LCD Monitor

I find the FS100 LCD monitor to be of sufficient resolution, especially when paired with the expanded Focus Assist function, but what has always bothered me about the FS100 LCD is its position. It wasn't designed with event video in mind, and whoever led the focus group on the design really missed the boat.

Filming with the camera lens at eye level is the default position for most film work. A little above can make the subject look smaller or inferior and a little under taller and superior. You definitely want to avoid filming too much under this level because most people don't like the way they look with an up-the-nose or under-the-chin angle. As a 5'6" tall camera operator, this requires me to film with the camera above the level of my eyes. This wasn't a problem when the LCD was side-mounted because I could tilt the LCD down and get as good a viewing angle as if I were 6' tall.

A top-mounted LCD creates a bigger problem. If it was hinged at the back of the camera it would not be too dissimilar to a side-mounted LCD, but because it is hinged in the middle of the camera body, the back half of the body obstructs the viewing angle. The solution is to use an external monitor or to stand on a riser. As I explained before, the HDMI monitor option when webcasting means the live signal can easily be interrupted if the monitor cable is pulled or the battery needs to be changed. I often put my camera operators on risers if their subjects will be standing and they aren't 6' tall.

So why would an HD-SDI output be an improvement over HDMI? HD-SDI doesn't interconnect each connection and most HD-SDI to HDMI converters have an HD-SDI pass-through so you end up with both an HDMI and an HD-SDI output for the cost of a $300 device. Sony really limited the FS100 when they equipped it with an HDMI output and this is the single most important reason why I feel the Sony FS700 is a better camera for webcasting.