FS7: B&H Shows In Stock
- Thread starter nsoltz
- Start date
Matt Gottshalk
Resident Preditor
I was pretty hot on this camera when it was released, but I haven't been to impressed with the footage thus far.
Think I'll wait and see what Canon's response is.
Think I'll wait and see what Canon's response is.
Bubble
Well-known member
Matt Gottshalk
Resident Preditor
isn't the footage base on the shooter? not the camera itself.
Yup, but despite a bunch of talented shooters having the camera, I have yet to see any footage that blows me away.
I really don't think the FS7 is a canera that will blow anyone away image wise.
That said, I think I will be able to produce descent stuff with the camera.
i'll get out the Dragon for the amazing stuff.
On topic, I was told my camera shipped today, then I was told it will be shipped tomorrow (from Sony Netherlands), hopefully I get it befor Xmas.
That said, I think I will be able to produce descent stuff with the camera.
i'll get out the Dragon for the amazing stuff.
On topic, I was told my camera shipped today, then I was told it will be shipped tomorrow (from Sony Netherlands), hopefully I get it befor Xmas.
starcentral
Veteran
Matt, any links to material you've seen online - or was it footage you've seen in person, etc..
Be curious to see what you've seen.
Be curious to see what you've seen.
JPNola
Veteran
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I’m in the exact same boat. Basically just waiting to see more footage and see something that truly impresses me. So far I haven’t. As I have said before the images are nice but nothing that a F3 can’t pull off apart from resolution obviously. I think the main problem is that all that is out so far are tests. Maybe when some actual production footage pops up we will see something impressive.
Also waiting to see how the current problems develop with new firmware releases and if they are indeed problems or just operator error. What is out there at the moment is not very encouraging. Hoping they will be ironed out.
Despite the construction and compromises such as the EVF, grip etc, it’s a nice package. Although it seems to be turning out to be not as self contained and ready to shoot as initially thought and some rigging will still be necessary, it checks a lot of boxes for $8,000. With the package as is, if impressive images start showing up I think the camera is a great buy.
As for the footage being based on the shooter, sure. But if you know what you are doing basically anything you point an Amira at will look great. I know it’s much more expensive but you get the point.
To be honest Sony never promised an impressive camera with the FS7. They are marketing this as a corporate camera. So you might be on to something. It was most likely designed to be an ordinary camera, a work horse. They want you to buy the more expensive cameras if you want impressive.
FrameFarmMedia
Veteran
I think the FS7 gives you most of the F5 image for half the money (F5 gives lots of extras though for the cost I'm just talking image). A lot of people poo poo on the Sony F's image even the bigger ones so I wouldn't expect them to like the FS7 image either. I find the image quite nice and I am coming from using a C300. I don't shoot cinema so anything bigger would be a waste of money and data for my uses. This camera is perfect for doc/reality/corporate/branded video etc. I happen to really like the image it produces but that brings me to my next point.
This is the exact reason I have not and won't post footage I've shot with this camera as they are just tests and with tests I am trying to push the camera and see what I can and can't do. This makes for some boring ugly footage a lot of the time but its not the cameras fault it is mine as I learn SLog3. No test is going to look as good as something with a budget for set dec, props and a proper subject with purpose. I have no doubt we will see some great looking footage but I also have a feeling that a lot of it we won't see given the market that this camera is aimed at and restriction of what can be done with the footage especially internal corporate video.
Duke M.
Veteran
The higher end shooters almost always have an NDA. What you are seeing is the informal little tests without the planning going into a formal shoot.
FrameFarmMedia
Veteran
Quick question for anyone purchasing the FS7 did anyone opt for the extended warranty or diamond coverage from a 3rd party?
I have my own general production and gear insurance and have never before opted for extended warranties as these cams seems to have a 2-3 year life before the next purchase anyway.
I have my own general production and gear insurance and have never before opted for extended warranties as these cams seems to have a 2-3 year life before the next purchase anyway.
starcentral
Veteran
I know Samy's in LA is offering a 3 year (1 year manufacture and 2 years extended) warranty against malfunctions and drops for $400 for both the FS7 and the Back Unit Attachment - $10K value total. That's really cheap so I think I'm just going to do it.
I did the extended warranty with my FS700 with Samys, but it never broke so I don't know if they're good on their word or not.
FrameFarmMedia
Veteran
I think extending the standard warranty is around $400 here in Canada (body only though) but my dealer also has a 3rd party that offers coverage for anything but its close to $800 for the 3years which seems too much to me. I have a feeling I'll just extend the Sony warranty by 2years.
NeedCreative
Well-known member
Agreed. I had a C300 and the FS7 looks as good if not better. But you really need to know how to expose the slog properly and color grade. And most people aren't that good with color, frankly. Most of the time with the C300 it was shoot, adjust luma, done.
I think some of the shots in Snowlight that I posted look fantastic. Others are only ok, but we had no contrasting light. Certainly looked nicer in some respects skin tone wise than my C300.
No this isn't an Amira. If I want an Alexa I'll rent an Alexa. But you could mix n match to it if you had a good colorist and had to. Same with F5 & F55.
JPNola
Veteran
Don't take this the wrong way, but if I am buying a camera for jobs where the clients are particular about the look and quality of the final product I probably don't purchase an Fs7. I probably don't purchase ANY camera at all and instead just rent. Sorry if that ruffles any feathers but imo all the micro-examination of the Fs7's image quality and critique of it's image quality forgets that the Fs7 was intended to:
* provide S35 and the shallow DOF look for those who can't afford a $20k camera.
* compete with the C300 by providing a more ergonomic out-of-the-box form factor that doesn't require so many 'robo-cam' accessories.
* provide S35 in a diminutive size that can better shoot in small spaces than the F5 as a result of both it's smaller lightweight body and the use of tiny e-mount glass ( or leica lenses ). A camera that is better than the F5 for run & gun as a result of being able to chuck it around and hold the camera in positions that are more difficult with the F5.
This is a form factor where the Fs7 shines and one that the F5 cannot match-
You sacrifice certain things in exchange for a camera that can so easily shoot in a vehicle, for a camera that can be held in many positions that would be far more difficult with an F5.
The Fs7 was in large part aimed at eliminating insane "robo-rigs" that have been prevalent with the C300. Rigs like this-
One of Sony's targets with the Fs7 was all the reality shows that shoot with C300's. Shows on which I have had to suffer with a crazy C300 robo-rig that still doesn't provide the operator with a decent louped VF. Shows that frankly don't care all that much about technical quality of the image as much as they do about simply getting the shot. Productions where you are jumping in and out of vehicles while following the subject, shooting the subject in a tiny bathroom, and carrying the camera around for 17 hrs straight. You are lucky to get a chance to white balance on such productions nevertheless be concerned with gamma curves, histogram indications, or "magenta shift". These types of productions are not seeking footage that "blow you away" with it's image quality. They are seeking footage, period. And a LOT of it. Like 8 hours of footage in a single day of shooting. Content, content, content. The mantra in that world is "you can never have too much content". Or as one field producer on a reality show instructed- "NEVER stop shooting. Shoot EVERYTHING that happens. Even it it's the subject taking a piss".
* provide S35 and the shallow DOF look for those who can't afford a $20k camera.
* compete with the C300 by providing a more ergonomic out-of-the-box form factor that doesn't require so many 'robo-cam' accessories.
* provide S35 in a diminutive size that can better shoot in small spaces than the F5 as a result of both it's smaller lightweight body and the use of tiny e-mount glass ( or leica lenses ). A camera that is better than the F5 for run & gun as a result of being able to chuck it around and hold the camera in positions that are more difficult with the F5.
This is a form factor where the Fs7 shines and one that the F5 cannot match-
You sacrifice certain things in exchange for a camera that can so easily shoot in a vehicle, for a camera that can be held in many positions that would be far more difficult with an F5.
The Fs7 was in large part aimed at eliminating insane "robo-rigs" that have been prevalent with the C300. Rigs like this-
One of Sony's targets with the Fs7 was all the reality shows that shoot with C300's. Shows on which I have had to suffer with a crazy C300 robo-rig that still doesn't provide the operator with a decent louped VF. Shows that frankly don't care all that much about technical quality of the image as much as they do about simply getting the shot. Productions where you are jumping in and out of vehicles while following the subject, shooting the subject in a tiny bathroom, and carrying the camera around for 17 hrs straight. You are lucky to get a chance to white balance on such productions nevertheless be concerned with gamma curves, histogram indications, or "magenta shift". These types of productions are not seeking footage that "blow you away" with it's image quality. They are seeking footage, period. And a LOT of it. Like 8 hours of footage in a single day of shooting. Content, content, content. The mantra in that world is "you can never have too much content". Or as one field producer on a reality show instructed- "NEVER stop shooting. Shoot EVERYTHING that happens. Even it it's the subject taking a piss".
I think you are right on the money with your statement and I'm considering buying a FS7 for the exact same reason. I'm looking at the FS7 as a beater for jobs where image quality is not the main goal and for jobs that can't afford a top end camera. This is also the market Sony intended to hit with the FS7. If the goal is top image quality I would just use a top end camera. But saying this will of course rough feathers here. But you are right on the money.
Hyperfocall
New member
There's a lot more to cinematography than just what the camera is doing and I think people forget that on projects with higher end budgets they typically use the Alexa, Red Epic and film cameras. But higher end films also have 1 ton grip and lighting packages and full crews and departments for art, set design, warddrobe, etc. All of that makes a huge difference in how a film "looks".
Under baseline conditions, these cameras in shootouts with the Sony F55 perform nearly identically. What is not identical are the actual production design of the films that shoot with an Alexa and one that's shooting with an FS7.
Same with the lighting package, crew size, and especially the post production pipeline and colorists involved.
Make no mistake, you can see godawful footage from Alexa's and Red Epics on the lower budget end where the playing field is more level and the films don't have excellent production design and a talented colorist.
So keep that in mind when "evaluating" a camera. Any budgeted feature using an FS7 probably won't finish post production for another few months. Currently all we're seeing is some pretty low budget experiments.
Under baseline conditions, these cameras in shootouts with the Sony F55 perform nearly identically. What is not identical are the actual production design of the films that shoot with an Alexa and one that's shooting with an FS7.
Same with the lighting package, crew size, and especially the post production pipeline and colorists involved.
Make no mistake, you can see godawful footage from Alexa's and Red Epics on the lower budget end where the playing field is more level and the films don't have excellent production design and a talented colorist.
So keep that in mind when "evaluating" a camera. Any budgeted feature using an FS7 probably won't finish post production for another few months. Currently all we're seeing is some pretty low budget experiments.