FS7: Can the FS7 look "cinematic"

To the OP, do these shots feel cinematic? excuse the quality, these are screengrabs from a 720p H264 working edit.
MS medium.jpgwide FS700.jpg
answer: cinematic enough for the EP.
However, this was not shot with an FS7. It was shot with an F700. I suspect the FS7 would be a bit better all around.
 
Viddovation said:
Just to be blunt, if I had clients putting Alexa rental money on the table, I wouldn't be spending so much time on this forum.
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Ditto. I actually sold my Red and bought an FS7 so I could take on smaller jobs more easily, knowing how inexpensive it is to rent a Dragon or Alexa.
 
In my mind, Sony hit the sweet spot with the FS7. It's good enough quality that my high end clients never mention it. It's cheap enough that my low end clients never mention it. And the fact that it has paid for itself inside of three months means I can spend some money on upgrading my lighting and grip package, which will definitely mean I can produce better looking images.

And @Kik yes, those look cinematic to me. Very nice compositions.
 
Funny, I was just going to post the link to Philip Bloom's doc on CNN tonight at 10p. All shot with the FS7.
Well, I'll post the link anyway.
The Wonder List with Bill Weir - CNN.com
 
allenfacemire said:
Funny, I was just going to post the link to Philip Bloom's doc on CNN tonight at 10p. All shot with the FS7.
Well, I'll post the link anyway.
The Wonder List with Bill Weir - CNN.com
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No, it wasn't ALL shot with an FS7. The 'A' cam was an F55. The 'B' cam was an FS7. Plus numerous GoPro/Quadcopter shots.
 
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I think he said on his first 5 episodes were all F55 with some A7s as B-cam Movi stuff. On the last three episodes he exclusively shot it with the FS7 since it came in the mail and to show what it can do on a shoot like this. I am really excited to see the FS7 footage later in the series. I have my DVR set to record the whole series! :D
 
Once he got the FS7, on his Instagram feed it was pretty much all pics of the FS7 with some A7S. I know he specifically mentioned he started using the FS7 over the F55 because it's so much smaller and easier to carry around. Which is pretty much what the FS7 was designed to do, document.
 
If you read Philip Blooms Behind the Scenes, it's apparent his camera of choice is the f55 but that he brought along his new FS7...presumably because he knew there would be hiking. But in his blog he notes lots of cameras in play, including a couple of s7a's, a C300 and the new Pentax 647z. Hard to tell what portion of the show was shot with what!
 
allenfacemire said:
If you read Philip Blooms Behind the Scenes, it's apparent his camera of choice is the f55 but that he brought along his new FS7...presumably because he knew there would be hiking. But in his blog he notes lots of cameras in play, including a couple of s7a's, a C300 and the new Pentax 647z. Hard to tell what portion of the show was shot with what!
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yeah, I can't imagine he'd pick a jello-cam over an F55 for motion shots.
 
I think it is pretty clear Mr Bloom now likes the FS7 as the most appropriate tool for a shoot of this nature - which is pretty small crew wise.

I think the 55 and C300 were used before he got an FS7

S
 
I do a lot of adventure/travel type shoots, the fs7-A7s combo is pretty much the best you can have for it these days.
The FS7 as a beutyshot slowmo-HDR Cam and the A7s as a lowlight, low profile go anywhere shoot anything camera.
I fit both cameras 2 zooms 3 primes audio and batteries into a Thinktank Bagpack that fits in the overhead of any plane.
I would chose that combo over any Alexa- Red- f55 combo for those kind of jobs.
 
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VinceinLA said:
Was going to say the same thing.

The FS7 just isn't an Amira/Alexa. Get over it. Live with what it is. Few to no DP's or Directors are going to accept it as a real movie camera. It's $8000 for god's sake. If you want that film look, shoot Kodak or an F35 (or Arri). Then everyone can light and set-design and feel good about what will capture that work.
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this is what i ended up doing ..kodak short ends mostly and a moviecam daylight shooting...for night shooting (canon or alexa)
 
morgan_moore said:
21 day shoot, 3 people, talent, payments on F55/cabrio/FS7, management of media,edit of same, £60g?

Illogical?
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@morgan_moore

Thank you Morgan, Cabrio was a joke, perhaps you missed that and the smiley face, but no matter.

Every production has its budget. Ours happens to be based upon the commission price contracted and the rate which my talent is happy to supply. Perhaps your talent and F55 DOP charge more?

That's what Producers do, they sort out the commercial side of business. Everybody has their price and depending upon the project and the time of year deals are made.

£60g - I take it you mean £60K? But you must know televisually, even in Bristol, that's the top side? You'll be well beyond a preferred supplier if you get that - are you a preferred supplier?

Oh, and we own the FS7 outright with £5ks worth of outboard rig and support. But I'll give you lens hire extras if that helps with you re-defining my budget.

I'm also an editor as of 1978 "Laurence Olivier Presents" (2inch Quad, sometimes with the odd frame pulse razor blade and early Manchester Code - look it up). But now we also operate post production services.

Does this help with your sums?

Regards

Claire
 
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Not really a chat to be had in public. Was just interested.

Take 4-5 ave UK wages, pay off F55 and Cabrio in three years (leads to a daily price for said kit) add in insurance, a bit of data wrangling etc and it appears to get a little skinny.

That is what is so exciting to me about FS7, speedbooster and a 1985 28-85 :)

--

450 days worked in three years, £25k f55 and £27k cabrio is £115 a day, £7kFS7 and £500 28-85/speedbooster is £16/day

So £100 a day is actually not that huge as long as the owner keeps it working.

S
 
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Can Gopro look cinematic, for this matter acceptable for CNN? You bet! The rest of the cameras shold look at least similar, to end up in final edit. Not Arri look for sure!
 
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