Introduction to Sony’s revolutionary PXW-Z750 and Z450 ENG Camcorders 

Thank you! I'm definitely passionate about these cameras.

​@@DougJensenVortexMedia yeah man! Back when the EX1 came out, I picked your book and DVD up. They caught me up to speed on it real quick. The DVDs were always lent (lended?) to shooters back then because you're a better teacher than me.

Thank you very much for the nice comments. You have made my day! 🙂

Thank you. I'm glad it answered your questions and hopefully answered some questions you didn't even know you should ask!

Hi Rod, thanks for the feedback. It is always great to hear when my books or videos have made a difference to someone else. Enjoy your camera! I love mine.

Thank you Michael, I appreciate the compliment and I'm glad to have made a difference.

Hi Anita, thanks for the comments and I'm sure you'll love your camera as much as I love mine when you get one.

Thanks for the feedback. I'm glad you found it informative.

@@DougJensenVortexMedia There is only one problem: Now I want to watch a review from you for every new camera I'm interested in :D I really like your style and the very detailed and non-mainstream approach (which I mean in a good way. Only a few people online like and prefer 2/3'' sensors for example).

@ Thanks the nice comments. I also wish I had the necessary time and resources to do more videos like this.

Good to know there are other smart people out there! :-)

Thank you. Yes, the Z750 or Z450 are excellent replacements for the 700's.

With the difference that a Foveon sensor has really slow (30ms+!) rolling shutter, rather than global shutter. Source: I owned all generations of Foveon sensor cameras and tried out all of their (very limited) video recording capabilities.

@@87solarsky Size matters a lot regarding read speed, that's why 3-MOS camera tend to use 2/3 sensor size which is smaller than most smartphone sensors, the reason for using 3 of them is to maximise dynamic range and colour information duo to size limitation of one sensor. Effectively you are splitting regular APS-C sensor into 3 pieces. But because sensors are getting faster today there very little reason to use 3-MOS designs anymore except costs. Since a larger sensor will have about the same dynamic range and the interior colour information is within spec sheets.

Thanks Andrew. No, the Z750 and Z450 do not have an official S-Cinetone mode. Instead, they have 5x more paint menus than the FX6 and 3x more than the FX9, so that users can dial in any look they want instead of being pigeon-holed into a single look. I'm not a fan of S-Cinetone for reasons I talk about in my FX6 master class, but I do see the value there would be in having a similar look on the Z750/Z450. One of these days I'm going to take a few hours and see if I can create an matching S-Cinetone scene file.

The PXW-Z750 has an 8-pin remote port that can be connected to an RCP controller. There are some limitations, but in general, you will have full control of the camera. NOTE: Unlike a studio camera, there is no ND filter servo, so you cannot change ND filters with the remote.

Nope, it has always been Sony ENG cameras for OBS for as far back as I can remember. In 2018 we had PXW-Z450 cameras with Fujinon lenses. Tokyo 2020 was cancelled for Covid but it would have been Z750 cameras -- and still will be Z750 next year if the games happen.

Hi Jim, no I won't be doing a video series for the ENG cameras. Due their complexity and and the kind of customers they are designed for, my 400 page book is a much better resource. Thanks for asking.

Thank you for the compliments. No, I don't miss the color filter and I don't think it is needed on modern cameras with better processing power. Besides, I cannot remember the last time I would have used a 3200CC filter. Pretty much all lighting I encounter these days (including every light that I own) is daylight balanced, so I'd rarely change the CC filter anyway.

@@DougJensenVortexMedia I instead use the 3200CC filter a lot, most of my inside shots on theater (and other locations) are with the 3200CC because most of theater here still use tungsten and I prefer to shoot inside interviews with color light suited to ambient light, but that's just a preference. It's anyway a super camcorder (with the PDW.. the 700 was without cc filter.. but they added it in the 800 and 850)

@@mantovatv2007 Yeah, I totally see why you'd still want to have the filter. Fortunately I don't think it makes a big difference in the final look of the video. I think modern cameras, with better iamge processing, are able to make bigger swings in the WB without using an optical filter -- or else we'd still have those filters.

Thank you, I'm glad you liked the video. The Z750 is around $42K and the Z450 is about half of that.

Thank you, sir. I appreciate it.

Absolutely. When I first got the Z750 I dialed in similar paint settings to what I used on the FS7, F55, etc. But after some real-world shooting it was clear that I needed to make several adjustments because the Z750 simply looks so much crisper that what I had become used to with the single-sensor cameras.

Hi Eddie, those are all good questions . . . but they go beyond my area of expertise. I still own (and use an FS7) but I've never had to rig it up the way you describe because I alos have my Z750 and Z280, that are both better suited for that kind of production. Since you already have four FS7s, I can understand your desire to make those cameras better for event production. What you need is a B4 lens adapter and traditional ENG lens, such as those from Fujinon. Here is a link to an article I found that has more information than I can give you on this topic. Good luck. www.jasonpischke.com/blog/rigging-the-fs7-for-eng-and-sports-productions

THE PDW-700 / F800 book sold out about 5 years ago. The electronic version is here: books.apple.com/us/book/vortex-medias-sony-pdw-f800-field-guide/id594330267?ign-mpt=uo%3D4 If you are looking for the new Z750/Z450 book -- it is available here: www.vortexmediastore.com/products/doug-jensens-complete-guide-to-the-sony-pxw-z750-and-pxw-z450

@@DougJensenVortexMedia It seems to be unavailable for purchase in Poland. :( I'm still working with old XDCAM camera, so learning any new tricks would be great.

Sometimes they are used two bring two different wired microphones in the camera. Other times they might be used to take a feed from a sound mixer. Other times they might be used to take a house feed from a mult-box at a press conference or concert/stage/theater/classroom venue. Lots of reasons to have two XLR inputs.

Sure here you go: vimeo.com/ondemand/s1h Thanks for asking.

Take a look at the Sony PXW-Z190. That is the camera you want.

@@DougJensenVortexMedia tnQ you very much.

Sorry, I don't know the answer off the top of my head for such a specific set of parameters. In addition to the settings you mention, other settings may play a role as well. My advice is to configure the camera the way you want it and check the output.

​@@DougJensenVortexMedia OK thanks a lot for the reply. I don't have one (that's the problem), we are just about buy some and wanted to use this in a multicam setup were the "Browser Remote" function comes in really handy, but we of course want to us the 12G out to produce in 4k. So I just was curious to know if you ever tried to turn the Network Remote function on, with the result of no 4k outs at the SDI ports. The resellers tried to ask japan with no answers at all, by now.

@@feielc8617 I wish I could be more helpful but I'm in the middle of an 8-week road trip shooting in some national parks and I don't have the gear or time that would be necessary to setup and replicate your intended setup. I will see if I can get an answer from Sony for you.

​@@feielc8617 Got an answer from Sony. If the the root of your question is whether or not QFHD output is supported when the network function is turned on, the answer is no.

Hmm, that is a very good question. Even though I am not a big fan of S-Cinetone, I can certainly see why it would be great if there was a way to get that look from the Z750 so it can be matched with other cameras. If I was at home with both cameras I'd welcome the challenge to create a S-Cinetone Scene File. Unfortunately, due to travel and other commitments, the earliest I could take a look will be late November. I've put it on my schedule. Ask me again in a few months to see what I was able to come up with.

@@DougJensenVortexMedia Thanks, Doug. Your video did inspire me to buy this camera. After 40 years of doc and news, I really need to feel one with the camera, unlike the newer FX series. I own them, and they are fantastic cameras, but I started on a CP16 and I need my eye plugged into the eyepiece and the camera balanced on my shoulder. As you say, this form has already been perfected, why change it.

@@ttanquary Hi Tom, welcome to the Z750 owner's club! I hope you love it as much as I love mine. I will be home for four days at the end of this month with my FX6 and Z750 before I head to Yellowstone, Grand Tetons, Zion, and then NAB in October. I'll try to find some time during those four days to put the cameras on the charts and see if I can get a match for S-Cinetone. Otherwise is will have to wait until I get home in November or December.

@@DougJensenVortexMedia Thanks, that would be wonderful!

@@DougJensenVortexMedia Well, I finally took delivery of the camera. Your book on it and the 450 is very helpful. I have the ZA14x fuji lens right now but I'm getting the HA 14 in about a week. Although I have to say, in 1080 the ZA actually looks pretty good. I put it up against my FX9 with a GM 70-200, with the detail off on the FX, and they look pretty similar in sharpness. With the FX in s-cinetone and the 750 in Sony's preset matrix, HG3 709 they look fairly close. I would never stack the 2 but I could put them in the same general mix. If you ever get that chance to come up with a file to get them closer, I'd love it. This is a great replacement for my X400. I bounce around from news to doc to production and this camera fits right in there. Next step is trying it in s-log3. Thank you for all the help!

Sorry, these cameras do not have any type of auto-focus at all.

The camera is available worldwide so I am certain it is available in India. You will need to contact an authorized Sony reseller in your country to learn the cost. Good luck. It is worth every rupee.

Diffraction is not an issue if you have a good lens and try to maintain an f/5.6 or larger aperture as much as possible. I've uploaded a ton of Z750 and Z450 videos on RU-vid already, so anyone can judge for themselves rather than taking my word for it. ru-vid.com/show-UCUkNTsaWTiSpyummw1RmO4wvideos

Yes, 120 fps would be nice, but the Z750 won't be getting that update.

Chris, the camera you are dreaming has existed for at least 5 years. If you take an F55 or F5 and add Sony's ENG Build-Up kit you will have a super-35mm 4K camera with almost all the bells and whistles of a traditional ENG camera. zsyst.com/2016/04/sony-f55-eng-kit-buildup/ I speak from experience because I have that kit for my F55. So if you want it, you've got a ready-made solution without giving up your arm! :-) But with that said, an ENG camera with a s35 sensor cannot hold a candle to the versatility of a 2/3" camera with native B4 lens mount. More than anything else, an ENG camera is all about the lens. So, you can give an F55/F5 the form factor and other features of an ENG camera, but you still have to give up the great selection of 2/3" lenses, such as 24x f/1.9 zooms, etc. THAT was enough to make me park the F55 on the shelf and move over to the Z750 as my primary camera. The more I use it, the more I appreciate it.

They are completely different cameras made for entirely different purposes.

They are available at B&H. www.bhphotovideo.com/c/product/1641173-REG/vortex_media_fgz750_complete_guide_to_sony.html And Vortex Media. www.vortexmediastore.com/pages/vortex-media-training-videos-and-books

I had hoped my video answered that question. Did you watch it? 16mm was the standard for portable news/documentary cameras. When video replaced film, 2/3" sensors were essentially the video equivalent and the best ENG lenses were made for that sensor size -- and still are today.

@@DougJensenVortexMedia I am at 26:25 right now. Did I passed / missed that information? Sorry! And thank you for that information! Your video so far is amazing. (also because I love sony cameras haha). Edit: A ton of work. I watch 5 minutes and someone stops me so it took me 2+ hours to reach 26:25 :( Thank you again for the information. It is very useful. :)

Well, you're certainly entitled do your opinion . . . but I've actually done the noise testing with my own Z750 vs. Resolve. Have you, or anyone else you listen to, done the testing? Until then, I stand my my claims. Applying NR right off the sensor, at the full 4:4:4 16-bit image quality of the camera, and prior to any compression is probably the main reason it produces better results than waiting for post and working with a 10-bit 4:2:2 stream. Yes, an Amira with a Canon 25-250 is certainly a nice package, but it falls way short of matching the versatility of a traditional 24x or 46x 2/3" package -- plus having all the ENG bells and whistles you get with a Sony that Arri doesn't care about.. You should know that not everything benefits from a bigger sensor. The fact that Survivor is now being shot on Z750s is a pretty good stamp of approval, and the show looks much better than when they were using F800s -- which I thought looked pretty good at the time. The highligh handling is better and the saturation looks like nothing else in TV. BTW, I love Heavy Rescue: 401. It is a very well produced show and I like seeing the ingenious ways they get those trucks off the the road. Keep up the great work.

@@DougJensenVortexMedia sorry there Doug, re-reading I might have come off as a little strong. I just honestly not heard that opinion from the experienced side of the industry before. I do see your point though with the benefits of it being done at the raw sensor level and I would be curious if it is done prior to multi-sensor image combination in the image pipeline as I could see some benefit to that technically. From what I've seen of some of your shoots with the Z750, specifically your rocket stuff, it looks great and does cut well. I would agree there are definitely benefits. I just do see the price point compared with other options in the market as a challenge unless its for a network broadcaster. Thanks, it's been a fun show to shoot and very different than most anything else I've worked on. It is definitely always fun to see how the recovery is going to work and try to figureout ahead of time as well where we should put the hard mount cameras to try to capture that recovery. I would agree it would be a tough show to shoot on anything but a B4 setup, even if FS7s would do the job, the environment would be tough of them. This is one of the reasons the F800 has been king for the show. That and the nearly disposable media that just gets archived, even if a bit slow to offload. Anyways I definitely have appreciated your overviews over the years of a lot of Sony cams. Sorry if I came off harsh, just had not heard that opinion before from someone knowledgable in the field, especially after the advent of AI based NR, though I see how it could be beneficial if applied earlier in the image pipeline than otherwise accessible.

@@TheTechnoPilot No problem! My reply probably came across too strong as well. I appreciate your comments and all is good. If you liked the F800 (as I did too) you will love the Z750 when you have a chance to use one someday. Great camera.

John, maybe I am misunderstanding your comment, but you are incorrect. I control saturation on my camera via the PAINT > USER MATRIX > LEVEL menu. No manipulation of the MULTI MATRIX menus is necessary. In fact, all four of my custom SCENE FILES that I provide in my Z750 book (pages 263 - 267) have all of the MULTI MATRIX menus turned completely OFF. Have you tried my recommended paint settings?

@@DougJensenVortexMedia sorry I misspoke. You are correct with user matrix but that means you can not use the user matrix over a preset as that would mean you are then effecting the user side more then the non user side. Another words if you did r minus green plus or minus that would be more or less on the user side. On broadcast cameras its overall sat not have to go to a preset 1 in the user matrix to then up the overall sat. Sony is in the process of fixing it and will be available in a future firmware upgrade.

You're right, these are not entry-level cameras so it would take some time for an individual to work up to them. If you really want to get your hands on one of these cameras and get professional experience plus mentoring from experienced professionals, try picking up some freelance work with local production companies or sports producers in your areas. Starting as a grip, gopher, assistant, cable puller, etc. is still the absolutely best way to get your foot into the door of this business and work your way up to higher levels. A lot of young people think they can buy a nice camera and jump right in and make a career all on their own without anyone teaching them the ropes -- but that is not how it works. Good luck! Maybe we'll work side by side some day.

@@DougJensenVortexMedia I would agree with that. 15 years ago I was tagging along on shoots to help another guy down the hall. My first assignment was lugging batteries and in field, walking beside him holding up a reflector disk. I even had to be told how to do that properly. One day he called me at home in the morning and said he couldn't make it to an assignment. He told me to go get the gear and fill in for him - solo. Whaa?? "Any switches you see on the camera with a choice, put the switch on green." (Auto on a Sony DSR-300 DVCAM). :) It worked out and we used that footage for a commercial industrial project. After that I would learn by doing B-roll after he was done shooting the main content he came for.

@@charlieross-BRM Good story. I would say 90% of the people who are successful in the video/television/film industry got their foot into the business working as an assistant for someone who already had the job they wanted to aspire to. Watch, learn, and keep your mouth shut except to ask questions about the work. 10x more valuable to getting ahead than taking film school classes or buying a bunch of equipment just because you can. Whether it is called an apprenticeship, mentoring, or whatever, it is vital to watch other people do the job you want to do some day. When you are ready, the opportunity to jump into the driver's seat will come soon enough. Almost everyone who is successful in this business has a similar story they could tell. I know I have several.