FS7: After over a year...you guys still liking FS7?

Good points and you're right about the difference between creating custom LUTs vs. applying someone else's. But no matter what someone does with a LUT they are still going to face the challenge of white balancing in CINE EI. If you want a WYSIWYG look and you have to turn over the files to an unsophisticated client that is going to bite you in the ass sometimes.
 
Doug Jensen said:
And it explains why the idea of using scene files and paint menus to create a nice finished look in-camera so foreign to some people. Most cameras from other manufacturers just don't have the horsepower to do it so it's not how they are used to working. Some folks just want to punch in a LUT and walk away -- same as they do in post. And just like real grading in post, scene files require a little more effort to create and fine-tune to your taste, but it is worth it.
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I think there is another important criterion.
If you create a LUT in post it's WYSIWYG. Creating a scene file means much much more work in a territory (Sony Color Science)
where many are not at home. Adjust, shoot, review, adjust, shoot, review..... Create a LUT in Resolve, apply in post or in camera. Done.

I have not seen a scene file from someone which comes close in colors to what I have seen in LUTs.
Off course it's a matter of taste but I know that my taste in skin tones is obviously different to yours.
 
Ben Scott said:
The lack of TC in without the extension is pretty bad but I think I'll get around it in the future by going out to PIX-E or Shogun Flame or simlar and syncing to that when needed
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But I use mine mostly on broadcast gigs, with externally recorded sound by a sound man and/or 2 to 3 cameras. TC sync would save a lot of time in post. (They use plural eyes, but it dosent work all the time)
 
And I might add - the Pix recorders now give you proxy recording as well as ProRes files - and a great monitor with tools - for less than than ext back
 
Yoak said:
But I use mine mostly on broadcast gigs, with externally recorded sound by a sound man and/or 2 to 3 cameras. TC sync would save a lot of time in post. (They use plural eyes, but it dosent work all the time)
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a dealbreaker for sure then :(
 
Been looking at those pix recorders, but for the type of work I use my FS7 (a lot of hand held and tricky locations) I rather not add anything to the camera. If I'm doing other type of shoots (controlled lighting etc), I use my Epic or Raven.
 
My Sn. begins 003 bought as an ex demo unit almost exactly a year ago, most dealers were still showing long wait times for delivery so when a demo unit became available I leapt at the chance.

Do the first 3 digits represent region e.g. 002 US and 003 Europe? Or does the Sn. represent numbers sold?
 
Yup, mine's 30302 and I took delivery Nov 2014 so not sure if the serials actually mean anything in terms of who got what in what order.
 
Nirv said:
Do the first 3 digits represent region e.g. 002 US and 003 Europe? Or does the Sn. represent numbers sold?
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My guess is the first 3 represents the build number, so the first release was build 3 with 00100** and 00200** being prototypes. Mine is 0030076 and was from the first batch of four cameras into the UK, which was a week or two after the first cameras were released in Asia.

I'd love to know how many they've sold. I wouldn't be surprised if it was over 30,000.
 
After a few firmware upgrades the camera still forgets that you have/had cache record enabled if you enable/disable S+Q
S+Q is still a PITA to change from 150 to 5FPS (blaggers timelapse mode)
Sound is still lost on S+Q which is a shame
Record button is a bit dopey.

But reading the reboot times on the Varicam that is all cool

Still the camera was not designed by anyone who has used a camera.

But yep it is still going strong :)

S
 
Got mine in late 2014 and shot a feature in fall of 2015. Submitted the feature to AMC theaters (special program for indies) and got picked for a nationwide run, including an LA theater and the Empire theater on Times Square in NYC. I think the FS7 color science was a factor- it doesn't look like everything else coming across their desk. We shot in 4k, used the Rec709A LUT and did some minor correction and grading. I shot only in sunlight and with tungsten fresnels, which the FS7 absolutely loves.

When I got ready to put the files on DCP drives for the theaters I had the choice of 4K or 2K. After researching and finding very few theaters are 4K equipped so far, I elected to go 2K and am glad I did. 2K to me is the "sweet spot" , had it been projected in 4K I think it would have lost the filmic look somewhat. Seeing it on a screen that must have been 40 feet wide, I can tell you that the FS7 footage does not fall short in ANY way. And that's XAVC-I footage straight out of the camera. It looked even better than it looked on my monitor screen.

I now take the FS7 along on daily video business profiles I shoot for Yelp, using a 19mm lens for B roll and an 85mm for interviews. Despite having to change lenses, I generally walk out of the business in an hour. This is the first camera I've shot a feature with that I will hold on to and shoot the next one with, I like it that much.
 
Thanks for sharing.
I'm really thinking to buy a FS7 or a FS5 + Odyssey.
I love the idea shooting XAVC-I straight from the FS7 but the "4 sec 120fps" in 4K from the FS5 sounds good to me too.
But maybe the FS7 is better for run & gun style, than the FS5+Odyssey combo ?
Any advice ?
 
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