Added to watch list ! It would be great if someone with more knowledge than I could point to why that looks so Video
FS7: Any way to get an amazing Redraw image from FS7?
- Thread starter Martin.G
- Start date
Its already on the investment list :thumbsup:
Clermond
Veteran
Didn't you ask for a lightweight solution for landscape shooting some time ago? This is quite the opposite. It's big, it's heavy. One set of batteries for max 20min flight time is >1kg. Just one set! Do you have a 4x4 on the list too? :smile:
Already own a 4x4. But for real. The Mavic and Phantom 4 Pro is already in my office. The images from them are not good enough - but im currently shooting with them to create the teaser content.
To get the quality movement out of the Inspire 2, you need to be two operators and use the benefit of lens choice so the weight will be distributed anyways. And im an ultralight packer so my backpack for overnighting in the woods weighs only 5kg. Thats with food, sleeping bag, tent, first aid, cooking, etc.
Im really leaning into using different cameras for different needs now. Where FS7+Phantom 4 Pro can go some hard to reach places, the most iconic shots needs to be done with Inspire + RED. Depends ultimately on the final budget.
To get the quality movement out of the Inspire 2, you need to be two operators and use the benefit of lens choice so the weight will be distributed anyways. And im an ultralight packer so my backpack for overnighting in the woods weighs only 5kg. Thats with food, sleeping bag, tent, first aid, cooking, etc.
Im really leaning into using different cameras for different needs now. Where FS7+Phantom 4 Pro can go some hard to reach places, the most iconic shots needs to be done with Inspire + RED. Depends ultimately on the final budget.
AndreeOnline
Veteran
Many, including me, would have liked to have seen it sooner, but there is no doubt in my mind that a solution is coming. And once there is a complete system that will let a user quickly move a X7 between a handle and the Inspire series… well I don't see much competition there.
Clermond
Veteran
off course there is.
Either you run a aerial business than you won't need it.
Or aerial is only part of the business than you have a RED, ARRI, Varicam, SONY - and a Ronin, moevi or Letus.
My guess the market is covered. The effort to build the system is too high compared to what DJI will sell as it will be pricey for sure.
Sorry for hijacking the thread.
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AndreeOnline
Veteran
I can only partly decipher the meaning of what you write. But it's clear that we have wildly different views on the topic. You don't need to address me going forward.
Joshua Milligan
Well-known member
I can't help but feel that DJI will one day offer a complete solution: handheld gimbal, aerial system and a full fledged cinema camera with their X7 cameras. They already have the Inspire series, so there's a check for the aerial system. They have the Osmo line, so just integrate the ability to put the X7 on it and there's a check for the handheld gimbal. Follow that up by designing a camera body that the X7 can slip into, or at the very least has the same mount and image sensor in it, and there's your final check. If they could pull that off, guys like me who shoot in remote places will have a single system that can do it all and do it well, while being able to easily match everything in post. Heck, toss in some mounting solutions for car mounts and things like that and they'll really have it down.
On a side note, I know that the FS7 isn't a RED by any means and even its raw solution isn't all that great, but I've been shooting with my FS7 since 2016 and I can't imagine a better camera for bringing out to a remote place like the OP is discussing. I've always been happy with the images and thanks to its design, you have great battery life, internal ND and a whole host of features that make it perfect for filming in the wild. If it were me, I'd take the FS7 (MK II specifically) for this project. Just shoot it well and take your time in post and you can get super results. That's my 2 cents!
On a side note, I know that the FS7 isn't a RED by any means and even its raw solution isn't all that great, but I've been shooting with my FS7 since 2016 and I can't imagine a better camera for bringing out to a remote place like the OP is discussing. I've always been happy with the images and thanks to its design, you have great battery life, internal ND and a whole host of features that make it perfect for filming in the wild. If it were me, I'd take the FS7 (MK II specifically) for this project. Just shoot it well and take your time in post and you can get super results. That's my 2 cents!
cyvideo
Veteran
Exactly Joshua and a good 2 cents worth. Anyone who says an FS7 can't do the type of work required when shooting in remote places needs to talk to Thierry Donard Films as they obviously don't know this. These guys over the last few years have used primarily FS7s... and even FS7 mounted on helmets! They chose FS7s for a variety of reasons and a number of the reasons they mentioned are exactly some of the points you made.
Sure Thierry Donard Films are sponsored by by Sony and why not as they are a good testament to the FS7's capability. For the very remote and often dangerous and difficult work locations they chose the FS7s out of Sony's whole camera range. The bulk of their films are shot on these cameras. They worked the cameras in -30 to +40 degree temps and swore by them.
http://www.thierrydonardfilms.com/categorie-17150-gallery.html
Dan Chung interviewed Donard and his DP Simon Favier as to the reasons why they went primarily with FS7s for the shoots. If you have the time to watch the interview make yourself a coffee because it's a long chat, 58 minutes. Some interesting points of view though.
https://pro.sony/ue_US/products/handheld-camcorders/camcorders-nuit-de-la-glisse-filming-fs7
Chris Young
But the big guys in the skiing industry use REDs.
Matchstick Productions
Sherpa Cinema
And from Norway (horray)
Field Productions
Its pretty much the standard camera in the ski movie industry. At least with the big shots. I have not heard about Tierry`s films before.
The FS7 is "good enough". But im thinking about RED because i want "timeless". Thats something different.
Matchstick Productions
Sherpa Cinema
And from Norway (horray)
Field Productions
Its pretty much the standard camera in the ski movie industry. At least with the big shots. I have not heard about Tierry`s films before.
The FS7 is "good enough". But im thinking about RED because i want "timeless". Thats something different.
NorBro
Major Contributor
As much as ARRIs are used, REDs do dominate in many industries (not just skiing)...they are the best at slow-motion besides specialty cameras at very HFRs (i.e 10,000fps or something).
Compared to a brand new FS7 with accessories, this entry-level package wouldn't be the end of the world for $5K or so more:
https://www.bhphotovideo.com/c/product/1360699-REG/red_digital_cinema_raven_4_5k_start_up_kit.html
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I've owned one in the past and I think REDCODE is a primary reason the cameras are so expensive (IMO). Amazing in post.
Compared to a brand new FS7 with accessories, this entry-level package wouldn't be the end of the world for $5K or so more:
https://www.bhphotovideo.com/c/product/1360699-REG/red_digital_cinema_raven_4_5k_start_up_kit.html
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I've owned one in the past and I think REDCODE is a primary reason the cameras are so expensive (IMO). Amazing in post.
Yeah. I think the package i put together came in at about 22-25.000 USD. Cant remember the details though.
Redcode looks great. When compared to the raw file timelapses from Canon 5D II, and later tech, one could almost always see a distinct drop in quality when the timelapse ended, and footage from other cameras (not just 5D) started. Theres a massive quality difference often times, because people dont tone down the 14 bit raw stills timelapse goodness to meet the 8 or 10 bit recording from the main film camera. I really hate this jerky jump in many films.
Redcode looks great. When compared to the raw file timelapses from Canon 5D II, and later tech, one could almost always see a distinct drop in quality when the timelapse ended, and footage from other cameras (not just 5D) started. Theres a massive quality difference often times, because people dont tone down the 14 bit raw stills timelapse goodness to meet the 8 or 10 bit recording from the main film camera. I really hate this jerky jump in many films.
NorBro
Major Contributor
I don't think video will ever catch up to stills quality (which is what the timelapses are).
As amazing as 8K RED resolution is - or whatever is out there - one high resolution RAW frame from a high megapixel camera (30-40 is enough for many) with industry-leading dynamic range always shows a massive difference.
Once there is movement in the frames and there are several (24 frames) in a second, compression and decreased resolution take their toll.
I imagine stills cameras are very close to shooting 24fps continuously with no limit (the little RX100 V can do that now for 100 or so shots).
As amazing as 8K RED resolution is - or whatever is out there - one high resolution RAW frame from a high megapixel camera (30-40 is enough for many) with industry-leading dynamic range always shows a massive difference.
Once there is movement in the frames and there are several (24 frames) in a second, compression and decreased resolution take their toll.
I imagine stills cameras are very close to shooting 24fps continuously with no limit (the little RX100 V can do that now for 100 or so shots).
cyvideo
Veteran
So you did! That's me not paying attention again
A bit off topic but it looks like the F55 may just pick up an Emmy for "The Crown" if the following successes carry through:
Chris Young
Dont want to be a bearer of bad news but: https://shotonwhat.com/hemlock-grove-2015 First ep used c300
and Canyons uses 7D for some scenes in bedroom and looks like where they are 'stealing locations'
Run&Gun
Veteran
The first episode WAS particularly bad, but subsequent episodes still had a lot of poor looking scenes.
Not saying that I don't believe that, but 'Shot on What' is not the most accurate site and I'd take it with a grain of salt. They state that Canon Cinema RAW was one of the capture codec's. C300 does not output RAW. So, they are mistaken on the camera IF they did capture RAW(would have had to be a C500 back then to have RAW) or they are confusing shooting log and RAW. The most probable answer, if they are correct about it being a Canon camera, is they are wrong about RAW and it was shot on the C300 in log, since the 500 wasn't released until late in 2012 and principal photography supposedly started in summer of '12.
fair point... I’m also not disputing there is bad Alexa stuff, some young dp prominent online will remain nameless.