FS5: anyone like/love the sony fs5?

If I had to choose I'd keep the FS7 and sell the FS5. But to me at least the FS5 isn't worthless. It is so nice to shoot bare bones handheld and with custom settings it looks really good. Not to mention how tiny that thing is. I have a small shoulder bag that fits FS5 with attached lens and a few batteries which is really nice when I'm hired to shoot an event or things like that.
 
Doug Jensen said:
I'm not going take the time to list all the reasons why, but skip the FS5 and go to the FS7. It is a far, far, superior camera in every way that you want to compare them.
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...except of course for size if you're looking for a small travel package or confined space use, or price if the FS7 is just out of budget. At least that's what landed me on the FS5 vs. 7.
 
mcbob said:
...except of course for size if you're looking for a small travel package or confined space use, or price if the FS7 is just out of budget. At least that's what landed me on the FS5 vs. 7.
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I will grant you the FS5 wins on size and initial purchase price, but if you look at the overall cost of ownership, more effiicent workflow, the need for fewer accessories, better built-in capabilities, and that the FS7 will eventually fetch a higher price when it comes time to sell it, I think the difference in price between the two is not so much as it would first appear. In fact, I don't think the difference in price between the two should even be a concern for a working professional. But yeah, the FS5 does have some advantages in size.
 
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Well I’m really enjoying my Fs5. Having produced 12 features in the past. Shooting the next one on it will pay for the camera and stuff itself.
 
Just to be clear, I never said the FS5 isn't a good camera. But compared to the FS7 it is like a Ford vs. a BMW for not that much more money. I'll shut up now. I think I've probably said too much already, It's just one man's opinion who has owned both of them, take it for whatever it's worth.
 
mcbob said:
...except of course for size if you're looking for a small travel package or confined space use, or price if the FS7 is just out of budget. At least that's what landed me on the FS5 vs. 7.
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And both of these considerations are valid in my case. I shoot a lot of run n' gun where I need to be inconspicuous and with the current $750 rebate the fs5 can be had used for around $2500 vs. $5000 used for the fs7. If I had the budget for it and my shooting style was different, of course I would choose the fs7...
 
Doug Jensen said:
Just to be clear, I never said the FS5 isn't a good camera. But compared to the FS7 it is like a Ford vs. a BMW for not that much more money. I'll shut up now. I think I've probably said too much already, It's just one man's opinion who has owned both of them, take it for whatever it's worth.
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Of course your opinion is worth plenty, you're a consummate pro and I don't disagree with you on most of it. The FS7 resoundingly beats the FS5 except in terms of size and purchase price... but I disagree on the insignificance of that price difference.

That price is indeed significant for some... for instance, those working in small markets and doing largely straight-to-web work, with the occasional broadcast-level gig. That FS7M2 is almost twice the price, and takes media almost 5x more expensive. It requires a slightly sturdier (more expensive) tripod support system, and (to the best of my knowledge) doesn't work well on any gimbal in the sub-$2K space. The higher-bitrate encoding requires more drives to archive footage.

Those differences might be insignificant if the clients will see the obvious differences... if their attempts to color correct or sync camera timecodes or meet specific tech specs are impeded. Those types of clients will pay for those features (sometimes).

However, more and more clients just want regular high-quality digital content for a variety of distribution platforms. They're probably paying us to edit. They probably don't even know what banding is, even though it'd probably find its way into the highly compressed deliverable anyway. They'd be fine with DSLR/MILC footage. Working professionally with a DSLRish camera, however, is a complete PITA... enter the FS5 (or C100, etc)

It can go places easily, get shots fast with a solo crew and minimal gear, and look good enough doing it. It doesn't need much additional fittings and faff to work well, vs. a DSLR/M. It can serve as a servo zoom camera in a pinch with the right lens (for under $3K), for presentations and the like. If I need to hand over footage at the end of the day, I can ask the client to bring their own inexpensive SD card and dual-record, saving time and weight vs. hauling in a laptop to offload... or just hand them a card and invoice an extra ~$40 expense.

It's not the highest-end work, this stuff will never grace Cannes or Tribeca or even probably Netflix... but if this limited little $4000 camera can manage to help a largely inept small-market fool like me produce this stuff and gross over six figures per year while avoiding crushing debt or chiropractor bills and allowing for some family time, well... it has its own unique value.
 
Good points mcbob. This is EXACTLY why I chose the FS5 over the FS7. I absolutely know the FS7 is a "better" camera (ignoring cost of ownership) but each of us has different priorities. No one camera will ever be perfect (which is why I have several...)

"That price is indeed significant for some... for instance, those working in small markets and doing largely straight-to-web work, with the occasional broadcast-level gig. That FS7M2 is almost twice the price, and takes media almost 5x more expensive. It requires a slightly sturdier (more expensive) tripod support system, and (to the best of my knowledge) doesn't work well on any gimbal in the sub-$2K space."
 
I really like my FS5... version I. It’s a run-and-gun dream. Small footprint, built for handheld shooting, impressive 10-bit 422 HD codec (which is all I need), inexpensive media, fantastic dynamic range and sensor. The true sweetheart of it all, though?? ...The AutoND function. Choose a working aperture, and boom...shoot all day. When you’re chasing subjects, it’s your best friend.

Do I ever get the green-eyed monster whispering in my ear about how all the cool kids shoot the Red, or X type of camera? Sure... but then I dump my footage from the FS5 into FCPX, and I fall in love again.
 
Thanks for the good info. I'm actually in a big market (NYC) but most of the work I've done (even broadcast) has passed muster with my c100. But I would like to have the flexibility of 422 10 bit, 4K and slomo on the rare occasion a client requests it...
 
I owned an FS5 before I sold it and purchased Red Gemini (current camera). It is what I built my business on. I used the FS5 with an Atomos Shogun Inferno and could record upto 4k/120fps and 2k/240fps (12-bit Pro-Res Raw) with it which put the FS5 in a totally different league for me. Pro-Res Raw was an immense improvement compared to what the FS5 can produce at 10-bit with Pro-Res 422. The FS7 is a much better camera overall when recording "internal" but I don't see any big differences when comparing the sensors of the FS5/FS7 and what they send out externally to recorders is pretty much the same. So if you plan on shooting ProRes Raw/422 I'd probably recommend an FS5 before I would recommend an FS7. There are also downsides to the FS7 when it comes to ergonomics (handheld / gimbal work). I think both cameras have a purpose and Sony does an excellent job at defining a specific job for their cameras. The FS7 is the broadcast/documentary/commercial DP who has an established career, lighting, tripod/sliders, and a professional gimbal/readyrig and or steadycam setup. The FS5 is for the run-and-gun videographer, traveler, prosumer, or someone like myself a few years ago who needed a reliable camera (S35 or Full Frame) to build a business with, that could run a plethora of lenses (with adapters), record 4k 10-bit 60p/120p or greater, workable codec and data rates, all while not breaking the break and allowing for the future development of lighting, audio, and stabilization for a growing business. For the amateur commercial DP the FS5 built my business to a point when last month I sold the FS5 and purchased a Red Gemini straight cash (no loans) from earnings produced by that very FS5. Quite honestly when you look at the specs the FS5 and EVA1 nothing comes close for the money when you are willing to let opinions, emotions, and judgements out of the decision making. I shot side-by-side with many other cameras much more professional than the FS5 while I owned the FS5 and at the end of the day when post-production is done we all could be fooled on which is which.
 
Lots of excellent points being made. I like the tone of this thread. Everyone sharing their opinion and experience without arguing. That's the way it should be more often.
 
The FS5 is not a mini FS7. I wish it was and I'd pay the difference. In terms of ergonomics though* it's the best camera I've ever used. I really thought I wanted a shoulder-mount cam but after 3 years with the FS5 I've changed my mind. And I love how small it is, and how it strips down even smaller. If you're doing any kind of doc work where stealth is important, or not being an intimidating presence, then it really shines.

On a bad day it still feels like an almost camera. I think if Sony really did make a mini FS7 in the FS5's form factor (with latest-gen autofocus and better monitoring) it would be an absolute killer for single-op or small-crew documentary.

*How nice it is to hold and use, not the menus.
 
My main concern at this point with the fs5 is low light. The c100 shines in these situations. I've been able to salvage images basically in the dark. In the end it's about weighing the pluses and minuses of any camera...
 
Andy9 said:
I think if Sony really did make a mini FS7 in the FS5's form factor (with latest-gen autofocus and better monitoring) it would be an absolute killer for single-op or small-crew documentary.
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From your mouth to Sony's ears.......hopefully. What you described is pretty much my dream camera......
 
I would like to see a full frame FS7 with FS5 ergonomics with internal raw recording. I don't care what the cost but I would buy one.
 
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