FS7: Any way to get an amazing Redraw image from FS7?

Most professionals would be hard pressed to tell the difference between a well produced shot from a Red v.s FS7 even if it was side by side unless they were pixel peeping. If not too cumbersome, I would consider shooting Raw on the FS7 for a bit of extra latitude for flexibility in post later. If an FS7 rig wil save you time and/or money it wil be better used towards other items or conveniences that will ultimately yield more high quality shots. Even if that means hiring another assitant to help lug equipment around faster.

As far as wide lenses go, I love the canon 17mm tilt and shift because it's simply a really sharp lens when not titl/shifting (essentially the center of a medium format image circle) I also love The sigma 20mm 1.4, maybe even a little more (amazingly defined 18 pointed sunstars when stopped down to f16). Just make sure your wide lenses are always clear of even little specs of dust.

I would recommend canon EF using a smart adapter (or Sigma MC-11) Do not use a speed booster for this type of work.
 
If you want the 'RED' look without paying the money, you really need to look into Blackmagic cameras.

CinemaDNG is up there with REDCODE RAW and I can't decide which one I like more on any given day. Serious manipulation is possible with these cameras.

IMO, the FS7 is a video camera...a great one and one of the best ever, but it's not going to produce the blockbuster look you're looking for.
 
Doug Jensen said:
Yeah, the FS7 is an amazing camera and should be more than up to the task of shooting any nature videos. I don't know what Martin does to "break" XAVC (or even what the hell that means) but if he doesn't think XAVC is good enough to meet his needs, then 16-bit RAW ought to provide total satisfaction. Almost everything I shoot is 4K Sony RAW and that future proofs all of my footage for anything anyone needs until the day 8K becomes mainstream.
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The codec breaks when the compression becomes visible between the masks. So you spend more time babying and massaging the sliders to get away with what you want to do. I made it go away, but i spent some time on it.

Why isnt everyone shooting on FS7 or similar if that is all we need?
 
One consideration is the F5 and raw recorder for sure.

I think the FS7 does lack the true 'heft' required for top end. But top end also requires big grip, loads of batts and maybe someone to handle filters (if external) and focus - you may not have this infrastructure.

If you are working alone IMO an FS7 is all you can manage (with suitable tripod and a decent bag of glass)

I think ND is a big deal and that would put the F5 above Red maybe?

Im just doing some post on my Fs7 with Broll on the BMC micro.. the colours of the micro and the compression is way more like a proper file.. and that is a 1080 BMC.

The bmc is also biting with some moire that you wont get with a sony.

Do a test!

S
 
Martin.G said:
Why isnt everyone shooting on FS7 or similar if that is all we need?
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I can't speak for other people, but I can tell you why I primarily shoot with my F55/R7 with the optional ENG build-up kit instead of my FS7:

16-bit 4K RAW @ 120 fps
16-bit 2K RAW @ 240 fps
Integrated external recorder with no extra power or cables
Better ergonomics
More external controls on the camera body (less menu diving)
Better viewfinder
More robust PL mount
Slot-in wireless 2 channel microphone receiver with no cables
Global shutter
SxS cards
AXS cards
Digital audio input
Better resale value
And more.

But with all that said, if I went out on a glacier and shot with both cameras you'd be really hard pressed to tell which one is which. The quality of your glass, shooting skills, and grading in Resolve is ultimately more important than what camera body you're using once you surpass a certain threshold. And I believe the FS7, F55, and F5 are very close to the same level of image quality.
 
How is the FS7 on shooting greenscreen and matching studio actor with 3D/VFX environments?

Can i expect to get quality akin to "Cosmos" with Neil degrasse Tyson with an FS7?

I have not done any greenscreen jobs in two years, and have not tested it myself. We will be running tests later on, but im curious what you guys think.
 
The FS7 records with a 4K 10-bit 4:2:2 format that keys out great. What more would you need? Or more importantly, what more could you afford?
 
Quote Originally Posted by Run&Gun View Post
"If it fly's, floats or F***s, it's cheaper to rent it by the hour".

cyvideo said:
So un PC these days but hey I'll pay that one! :) Chris Young
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To me, calling it un-PC doesn't really even get close to the bottom of what's wrong with the statement. IMHO, the problem with the "catchphrase" is not simply that it's un-PC, but rather that it's demeaning, and anyone who jokes about paying for sex is probably rather insecure to begin with, and certainly not likely to have a very enjoyable sex life. Not trying to throw **** here, as I imagine that the comment was intended as humour, but I DO think that by 2018 we can probably recognise what's cool to joke about vs. what's not. Just my opinion, hope I don't come across as being patronising.

-jason
 
I'd frankly be more concerned with the build quality of the FS7 on a rough and tumble travel job, than its image quality. It's very light and built to a price.

A mid-tier workhorse camera like the F5 (+ raw recorder ideally) or Varicam LT would be a safer bet to my mind.
 
When using cameras of lower build quality like the FS7 or the EVA1 i think its wise to set it on a shoulder mount so that the mount absorbed all the wearing and tearing.

Grug said:
I'd frankly be more concerned with the build quality of the FS7 on a rough and tumble travel job, than its image quality. It's very light and built to a price.

A mid-tier workhorse camera like the F5 (+ raw recorder ideally) or Varicam LT would be a safer bet to my mind.
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All that build quality is going on my back for days on end, together with a tent, sleeping bag, cooking stove, dry-food, batteries, cards, spare clothes.

Not sure that extra build quality is where i would put my priorities at the moment. And my knees are not getting younger either. Neither does my back. On vacation recently i was hospitalized with back pain (lumbago) for no reason, on the first day! Still have pains. So i have even ordered the new Flowtech 75 tripod so i dont have to bend down all the time anymore.

I am planning for old age here :p (And that is one of the super-cons against RED equipment)

@doug: Dont know, as i havent keyed the 10-bit yet. Saw a youtube tutorial doing it on FS7 material and it keyed like s**t around the actors hair with Keylight in Adobe AE. Same problem we had with FS700 that looked really bad when keyed. Do you have any vids that you have keyed? Maybe you are better than average at keying. And im not going to key a thing myself on the big job.
 
Totally agree. When you say tent / sleeping bag... that would dictate a lot for me. With no crew, I'd not want the LT / Amira or perhaps even the F5. Having to schlepp everything yourself means small, easily portable batteries with light tripod, etc.
 
One thing I haven't seen mentioned in this thread is HDRx with the RED, and the ability to thereby tap into significantly greater dynamic range if desired. I think the key image question is whether that is something you need?
No matter what camera you get, put an extra sherpa in the budget!
 
morgan_moore said:
Martin - you are revealing your hand - minimal crew - I'd rate low mass very highly :)
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Well, yes and no. I am aiming for a three person shoot. The sound guy can carry my batteries ;-) But for other images i will most likely be alone with an FS7.

The FS7 is the bread and butter of my solo shooter business and i will not sell it until FS7 III or IV comes out with Red Epic abilites like 12 bit or HDR or something like that :)

So im thinking a Red Scarlet-W + FS7 as household items, or just the FS7. Getting an F5 is not a significant enough upgrade over the FS7 to keep both in my opinion. Same for F55, i think the image doesnt have enough appeal alone and nobody is paying me to have F55 production features on set. So theres that.
 
If I was in your shoes I would actually consider the GH5 (s) All I 422 10bit in 4K.

Martin.G said:
Well, yes and no. I am aiming for a three person shoot. The sound guy can carry my batteries ;-) But for other images i will most likely be alone with an FS7.

The FS7 is the bread and butter of my solo shooter business and i will not sell it until FS7 III or IV comes out with Red Epic abilites like 12 bit or HDR or something like that :)

So im thinking a Red Scarlet-W + FS7 as household items, or just the FS7. Getting an F5 is not a significant enough upgrade over the FS7 to keep both in my opinion. Same for F55, i think the image doesnt have enough appeal alone and nobody is paying me to have F55 production features on set. So theres that.
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Its sort of a no-boat for me. Since i already have that quality on FS7, but i also have A7s II wich can film in moonlight, or candlelight. Even did so on my last doc that had some small influence by a certain Barry Lyndon movie. No artificial lighting on a small mountain farm driven by young girls. Captured candle light real smooth and the FS7 really is a pleasure to work on 8000 ISO for just broadcast.

But i digress. Point is, GH5 cant do moonlight so i feel its a sidegrade. No upgrade on either front. I like my FS7, its not THAT heavy either. Im an ultralight packer so tent sleeping bag +++ weights just above 5kgs. I do a lot of hiking and have that part covered in spades :-)
 
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