FS7: 3 cam match samples PXWFS7, A7RII, A3600 which one is which?

G

Geebri

Member
WRWCA86 main cut.00_07_02_22.Still010.jpgWRWCA86 main cut.00_07_02_22.Still012 copy.jpgWRWCA86 main cut.00_07_02_22.Still015.jpg

As many of you may end up using two or more or these cams in a multi cam shoot and wonder if they can match easily here's three frame grabs from a recent shoot I did. Can you tell which cam is which? All shot in s-log2 and graded simply in CC

My bad title should say 6300!
 
Last edited:
i haven't shot with the 6300 and maybe i can make the fs7 match a7rII files but i do know that i can't match cine-I slog3 files from the FS7 with the A7rII....the difference can be huge when it counts....any kind of backlit highlight situation is just not comparable.....i wish it was but it just isn't....
 
In order of what caught my attention

Middle is the a7rII

Top a6300

Bottom FS7
 
Last edited:
cinematographer_dop got it correct. Top is the A7RII with a 25 mm Zeiss Batis, the middle is the FS7 with the Zeiss 50 Makro CP.2 while the bottom is the A6300 with an 80-200 f4 Zeiss Contaz.

I pretty much only ever shoot slog because I face so much contrast with expanses of water and sky while the main subject the anglers are relatively dark. This is the second shoot I have used the A7RII alongside the FS7 and the first that I have used all three. I used to shoot with two or three identical cameras purely to make shot matching so much easier. Now I can't justify two or three FS7s. So far I am quite happy with the way these three can intercut. It's not hundred percent there I know but it is getting close, very close.

Of course another factor is ND with the FS7 having inbuilt filters while the A7RII and A6300 have none. I used screw in Tiffen ND's on the latter two and a combination of the inbuilt and supplementary drop in filters and a matte box on the FS7.

I like to stick to Zeiss glass too, however while I have a few CP.2s don't have a full set and got the Batis primarily to use on a small gimbal with the A7RII. The 80-200 is to give me a bit more reach while maintaining the Zeiss look.

What I do notice is that the 80-200 is definitely softer than the CP.2 and Batis and needs a bit more sharpening in post t match the others.

I'm don't do high end work and I'm not a pixel peeper for grading in terms of skin tones but I do hate it when the hues fluctuate from camera to camera so my aim is more about getting the cameras to match than anything else.
 
Paul I have not even attempted to match the slog3 to the slog2. Basically I sacrificed using slog3 on the FS7 just to match with the slog2 on both cameras. If all three shot slog3 I'd probably use it as I had been using slog3 on the FS7.

For a while and my b + c cams were small NX30E but I was sick of trying to match them with the FS7.

I'm just happy now that when I drop the three cams onto the time line I haven't got to jump through massive hoops to try and get a match. Time is money as they say. Just a shame they didn't include slog3 in the a7RII.
 
The orange in the third image (A6300) is a little off. I assume that if you correct it, it throws off the skin tones a lot. But I’m guessing your audience won’t notice the slight color shift: it’s pretty much irrelevant to their interests.
 
Geebri said:
Paul I have not even attempted to match the slog3 to the slog2. Basically I sacrificed using slog3 on the FS7 just to match with the slog2 on both cameras. If all three shot slog3 I'd probably use it as I had been using slog3 on the FS7.

For a while and my b + c cams were small NX30E but I was sick of trying to match them with the FS7.

I'm just happy now that when I drop the three cams onto the time line I haven't got to jump through massive hoops to try and get a match. Time is money as they say. Just a shame they didn't include slog3 in the a7RII.
Click to expand...
i agree that it is great to have so many great options from one manufacturer....i guess the FS5 might fit even better with the A7II (s or r) and 6300....especially if you are matching it all to 8bit....
 
Jim, it was only a quick tweak, but I have noticed that 80-2000 Contax tends to need more tweaking whatever cam its on. You are right the skin tones are more tricky with it.
 
The colors in all three images look off - he looks a bit sickly green to my eyes.

That's the challenge with shooting CineEI, you need to white balance in post...and not just white balance your mid tones, but you need to adjust lift gamma and gain independently in my opinion (using RGB parades).
 
I guessed the cameras correctly as that is how I would have set them up as well. They do match nicely minus that orange color diff in the 6300. Quick question from a purely curious stand point; why did you set the fs7 with the subject on the right side of the Y axis when you have the other two left?
 
Rules are there to be broken aren't they? I actually shoot 4K frames for HD delivery and in the final edit they will be cropped.
 
That they are, and that is the main benefit of filming 4k which is why I was surprised the fs7 was indeed the off axis one.

Looks like it was a fun shooting day though. Thanks again for the post showing the color science. Too few people go out of the way to just throw out helpful stuff for no particular reason. Props
 
It is true that most in my market will not notice colour issues as it is largely about the content but that does't stop me always pushing to improve my own knowledge images and end product. In particular I hate blown out skies / water which you so often see in angling productions.

For me this a real world situation that I face regualrly rather than shooting charts. I don't always have the three cameras running but always two just wanted to see how they matched up with the lenses I use and the ND filtration.

As I said I wanted to try and match the cameras first and foremost then I cam tweak the final grade. Its the ease with which they can match that will make life easier.

I think the green is largely due to the ND filtration. I also had a Litepanels Astra daylight panel the brightest one to give the shadows under the cap a lift.

I had another look at the images paying closer attention to the vectorscope and only a modest alteration to each has the skin tones running nicely along the skin tone line. I'm not ready to do the final grade as still editing in the out of camera slog2.
 
You must log in or register to reply here.
Back
Top