Thread: FS700 in 2018?

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    #11
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    Quote Originally Posted by calebmg View Post
    ....I'm having this exact debate now. I've realized that the reason I'm wanting to upgrade at all is for form factor reasons.....
    Yes, same here. Thats my biggest concern right now. I am sure that I could live with FS700+Inferno for some time but I often wish that it would be little bit lighter and mainly more...I don't know proper word for it..simply not that impractically looking haha.

    Quote Originally Posted by deltoidjohn View Post
    ...The FS700 will do me just fine for this year, I think. Here's a frame grab from a shoot yesterday. Inside a cave, underneath a waterfall, on a rainy day, no lights or modifiers (wish I'd had a bit of bounce, but no budget for an assistant!).....
    Looking good! May I ask you about your workflow? Since FS700 is old, no one really experiment with those anymore, so it is hard to find any useful info. I am using LUT for normalizing image which I have found on this forum (Betz) and then custom tweaking with Lumetri or Resolve. Color Correction Handbook by Alexis Van Hurkman is my bible but I still fight with skin tones.


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    I'm in the same boat as OP. I'm using my Fs700 + Odyssey combo, alongside an A7rII as a B-Cam. I rarely pull out the A7rII, unless it's going on a stabilizer. Realistically, the FS700 with an Odyssey/Inferno just simply out-performs almost any other camera in it's "range". There have been many times during shoots when we've had to switch from 4k/24 to 10808/240 to get a slow motion shot. The fact that I could simply switch a setting in the Odyssey/Camera and have this ability within minutes justified to me just how invaluable this camera combo is. Simply put, that just would not be possible with most any other camera in it's range.

    Sure, I could upgrade to a much, much, much more expensive camera system, but it's so hard to justify. Oddly enough, to save on form factor, I've been switching to using Nikkor primes, rather than large canon glass. It's helped keep form factor down, and I don't see any real quality issues from the change (this could be debated).

    I'm sticking with the FS700 throughout 2018 for sure. No reason at all to switch. Even then, I'm probably keeping it for it's S&Q capabilities.


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    #13
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    I think for most of us, the form factor/ergonomics is the main downfall.
    That being said, I'm in the 'e-mount camp' now. Too much invested in
    lenses, lens adapters and so on to jump ship to some EF mount camera
    like the Eva or Black Magic or Canon. Plus EF mount is so limiting, no
    speed booster, and you lose the ability to use all the cool 'vintage' glass,
    which has its own 'look'. So I'm waiting for the FS5mk II. With all the
    new competition, they have to make it soon right? Here's hoping......


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    #14
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    I'm not sure I would agree with the comment about everything being "over priced" in our industry. I guess it depends on how and when you came into the business. I don't want to sound like "that guy" but when I started a beta cam package was $45k minimum...to shoot SD on beta tape. Years later a digi beta cam was $65k...still shooting digital tape. My software of choice is Flame & Smoke...when introduced to the market back in the 90's, they had a 1 million and 500k price tag respectively for hardware/software. So the fact that you can buy a "serviceable" camera for sub 10k and I can run software like Smoke or Flame not only at work but at home on a mac for relatively cheap...prices by todays standards don't seem outrages to me, actually they seem quite reasonable...if not cheap, with some exceptions.

    Having said that, I two am a FS700/7q owner but I did take the leap a little over a year ago and got an Fs7...and truth be told, depending on what I'm doing I still shoot often with the 700/7q combo. Yes it adds a lot of weight and overhead when I'm out in the field as compared to the much sleeker Fs7, but I actually may still prefer the image out of the combo. And trust me, I really like the Fs7 but I'm still probably 50/50...again depending on the project.

    But, I think the key to the 700 is the external recorder (whatever it may be). I'm sure there are those that will disagree, but I found the internal AVCHD codec a pain in the ass to work with (actually most Sony file structures are) and the camera being 8 bit the AVCHD image has a bit to be desired as opposed to the image coming out of the 7q in my case...but again, just my opinion.

    When i bought the Fs7 selling the 700 wasn't even a consideration. It made more sense to keep it for a b cam then take a beating on the resale market as I got in fairly early on that camera so I think I paid 9k and what do they sell for know...$2500 maybe a bit more?

    If I shoot Slog 2 on both cameras (which I prefer even on the Fs7), apply the same LUT, I have ZERO issues matching cameras...so it's worked out really well. So for me, I still see a fairly long shelf life for the 700...it's not a camera I can use to sell jobs on, and I don't, but it certainly still has a place in my work flow.

    latest rig.jpgrig.jpg


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    #15
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    The fs5 has all the features of the 700 plus that great auto ND. You save a lot of weight, and gain features (including HLG and FullHD 240p at 10bit 422 internal and 4K30p). It is selling at a good price, and I got it when the RAW capability was free. I use it with the Inferno.


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    #16
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    Quote Originally Posted by KrocanX View Post
    Looking good! May I ask you about your workflow?
    I edit in Premiere and use the Convergent Design Rec709 LUT's (regular, -1 stop, & -2 stops) to get it into the ballpark, and then a bit a contrast/saturation adjustment if needed. I've actually been finding that 90% of the time all I have to do is select the LUT with the right exposure compensation for the shot. Most of what I shoot is for TV so Rec709 look is what I want. I find this process & the results a whole lot easier that any of the in-camera profiles or cine-gammas.

    Quote Originally Posted by thirdyearff View Post
    I'm not sure I would agree with the comment about everything being "over priced" in our industry. I guess it depends on how and when you came into the business. I don't want to sound like "that guy" but when I started a beta cam package was $45k minimum...to shoot SD on beta tape.
    I don't think it's purely that people think the prices are too high, rather I think there are very big market changes.

    In the betacam days you could buy a Camera for $50K and easily get 200+ days a year work as a freelancer for $500/d (I'm talking AUD), and you'd never even have to ingest a tape - just hand it over at the end of the day! Plus you'd keep that camera for 10 years (heck, I know news shooters here who are still using their betacams).

    These days, video content is everywhere, & the price-of-entry is lower, so there's a lot more competition, and the butter is spread a lot more thinly. Even as an accomplished shooter you an go out and buy a $50,000 Red package and you'll still lose jobs to guys with a GH5, because what the market demands is different. Plus that Red will be superseded in 12 months anyway. On top of that, wider economic forces mean it is harder and riskier to get a loan which means most people are limited to a camera they can buy outright.

    I'd love to own an LT or an F55 (not a fan of Red personally), but I have to assess the market and figure out at what price point a camera can meet all the needs of my market/clients. Anything over that is wasted money. I know they say to 'dress for the job you want, not the job you have," but if that means paying 5x as much for a camera that will be outdated next year, count me out! There's always rentals, anyway.
    VIDEO PRODUCER ON THE NSW NORTH COAST, AUSTRALIA
    Sony FS700 || Shogun Inferno
    Adobe CC 2018


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    #17
    Senior Member Zack Birlew's Avatar
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    I thought about getting an FS700 for a backup camera to a RED One MX primarily because it does RAW video inexpensively and also for the 240-fps RAW capability. However, the only thing that holds me back is the 2K resolution limit for the 240-fps and the added low light capabilities of newer cameras. Granted, the low light capabilities are still a bit better than my RED One MX but the possibility of a new Sony FS camera with 4K 240-fps or even a large advancement of the RX10 series’ high fps capabilities (even if it’s just a bump to 2K) for even more price savings is worth thinking about in 2018. While I don’t expect other upcoming conventional cameras I’m looking forward to, like the Sony A7S III, to have such high fps and resolution capabilities, there’s bound to be surprises by this time if previous NAB leap year trend cycles follow through. Honestly though, if I didn’t already have a RED One MX, the FS700 would have definitely been my alternative choice, even compared to the FS5.
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    #18
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    We won't see 4K/240p from anyone for a long time besides maybe RED in one of their $50,000+ cameras in the future.

    Right now they get close with the WEAPON with 200p at 3K 2.4:1 (3072 1296).

    Next up on the list for everyone is internal 4K/120p recording. Some already do it, but very few.


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    #19
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    Or you could always get a specialized HFR one that does it

    https://www.bhphotovideo.com/c/produ..._variable.html


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    #20
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    I'm in love with the FS700. I had the FS100 before it. And even shooting straight to card, I still get what I think is great results. The form factor is interesting, but lends itself to handheld which OP has mentioned. As we all get older, handheld becomes less desirable! haha.

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