That was before the $4,000 price drop.
C300MKII obviously has the dual pixel auto focus that works very well with the most prominent Canon glass.
And many prefer the warm Canon look.
FS7: FS7 II Official
- Thread starter traviswears
- Start date
C300MKII obviously has the dual pixel auto focus that works very well with the most prominent Canon glass.
And many prefer the warm Canon look.
Mitch Gross
Veteran
Odyssey7Q+ to Support New Sony PXW-FS7mkII
Colorado Spring, CO (November 9, 2016) - The Odyssey7Q+ and Odyssey7Q already support more RAW camera signals than any of device. Today Convergent Design announces that RAW support will also include the new Sony PXW-FS7mkII camera. Support for the camera will be included in the Odyssey RAW Bundle at no additional charge.
“The Odyssey7Q+ already records RAW from more cameras than any other device on the market,” noted Convergent Design President Mike Schell. “When we introduced the lower-priced grouping of RAW support in the Odyssey RAW Bundle at NAB 2015, we pledged to continue to expand to more cameras over time. The FS7mkII is the eleventh camera covered in the Odyssey RAW Bundle, joining the Sony FS5, FS7 and FS700; the Arri Alexa Classic; the Canon C300mkII and C500; the Panasonic VariCam LT; the IO Industries Flare 4KSDI and 2K SDI; and the Indiecam GS2K.”
Convergent Design’s Odyssey7Q+ offers more support for the Sony FS-series cameras than any other device, even more than Sony’s own solution. The PXW-FS7mkII will offer RAW data output with the addition of the XDCA-FS7 Extension Unit. RAW data formats include DCI 4K (4096x2160) up to 60p and DCI 2K (2048x1080) up to 240p. All frame rate and resolution combinations are supported by the Odyssey RAW Bundle, with recording in CinemaDNG or Apple ProRes (HQ/422/LT/Proxy). Cropped recording of the DCI 4K and DCI 2K signals to UHD and HD are available in Apple ProRes. Convergent Design’s proprietary Supersampling of the DCI 4K signal to either 2K or HD in Apple ProRes will yield a higher quality image than is available directly from the camera. The Odyssey LUT System supports both Sony S-Log2 and S-Log3 output from the camera, including several Exposure Compensation LUTs.
The FS7mkII 4K RAW output is also supported by the new Titan HD Extract option for the Odyssey7Q+ and Odyssey7Q. Titan will take the 4K RAW signal from the camera, SuperSample the full frame to HD, as well as extract up to two HD pixel-for-pixel windows from the 4K resolution. The result is three HD frames, a wide and two tights, from a single camera source. The three HD frames are all recorded in Apple ProRes, and a fourth recording of a Live-Switch (cuts & dissolves) between the three frames is also available. The two window extractions can be moved smoothly via finger-drag within the larger field of view. The RAW Bundle and the Titan HD Extract are available separately and one is not required for the other.
Colorado Spring, CO (November 9, 2016) - The Odyssey7Q+ and Odyssey7Q already support more RAW camera signals than any of device. Today Convergent Design announces that RAW support will also include the new Sony PXW-FS7mkII camera. Support for the camera will be included in the Odyssey RAW Bundle at no additional charge.
“The Odyssey7Q+ already records RAW from more cameras than any other device on the market,” noted Convergent Design President Mike Schell. “When we introduced the lower-priced grouping of RAW support in the Odyssey RAW Bundle at NAB 2015, we pledged to continue to expand to more cameras over time. The FS7mkII is the eleventh camera covered in the Odyssey RAW Bundle, joining the Sony FS5, FS7 and FS700; the Arri Alexa Classic; the Canon C300mkII and C500; the Panasonic VariCam LT; the IO Industries Flare 4KSDI and 2K SDI; and the Indiecam GS2K.”
Convergent Design’s Odyssey7Q+ offers more support for the Sony FS-series cameras than any other device, even more than Sony’s own solution. The PXW-FS7mkII will offer RAW data output with the addition of the XDCA-FS7 Extension Unit. RAW data formats include DCI 4K (4096x2160) up to 60p and DCI 2K (2048x1080) up to 240p. All frame rate and resolution combinations are supported by the Odyssey RAW Bundle, with recording in CinemaDNG or Apple ProRes (HQ/422/LT/Proxy). Cropped recording of the DCI 4K and DCI 2K signals to UHD and HD are available in Apple ProRes. Convergent Design’s proprietary Supersampling of the DCI 4K signal to either 2K or HD in Apple ProRes will yield a higher quality image than is available directly from the camera. The Odyssey LUT System supports both Sony S-Log2 and S-Log3 output from the camera, including several Exposure Compensation LUTs.
The FS7mkII 4K RAW output is also supported by the new Titan HD Extract option for the Odyssey7Q+ and Odyssey7Q. Titan will take the 4K RAW signal from the camera, SuperSample the full frame to HD, as well as extract up to two HD pixel-for-pixel windows from the 4K resolution. The result is three HD frames, a wide and two tights, from a single camera source. The three HD frames are all recorded in Apple ProRes, and a fourth recording of a Live-Switch (cuts & dissolves) between the three frames is also available. The two window extractions can be moved smoothly via finger-drag within the larger field of view. The RAW Bundle and the Titan HD Extract are available separately and one is not required for the other.
morgan_moore
Major Contributor
Mitch
I guess you still need a silly box on the rear of the fs7ii to hoot raw?
I guess you still need a silly box on the rear of the fs7ii to hoot raw?
Clermond
Veteran
Maybe Mitch needs to confirm, but from what Sony told me - Raw on the FS7 II works the same way as on the FS7 , you still need the silly XDCA-FS7 box sadly...
Nirv
Carbonite Member
Tthe myth of better 'colour science' and auto focus.
I would say brand. So many shooters in my area seems to have come from C300 mk1 or a C100 and still would prefer to stay with canon if they would offer something worthwhile. Its not so much that one is better or worse than the other because frankly not many people actually seems to test for themselves.
Its also about timing, how many still has the pre-4k cameras? The FS7 mk1 was such good value that people was going from Canon to Sony but how many actually waited?
Vik Kamenicky
Active member
Hi Mitch,
want to ask if you tried the FS7II with the Odyssey. Is the RAW truly 12bit or is 10-11 bits as someone pointed out? Did sony fixed that issue?
Thanks, you are awesome!
want to ask if you tried the FS7II with the Odyssey. Is the RAW truly 12bit or is 10-11 bits as someone pointed out? Did sony fixed that issue?
Thanks, you are awesome!
I also wanted to ask this question.
And are the bit depths the same when shooting 4k 60fps and 2k 240?
Jim Martin
DVXuser Sponsor
C300 MK II has 12bit 2K 444 internally....which is what most use when shooting with the Alexa....there are others...warm & creamy base look......and if you have Canon glass, the DPAF is amazing.
Jim Martin
EVSonline.com
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Jim Martin
DVXuser Sponsor
What??...no myth, just facts that has been explained, shown, and talked about.....
Can we see them?
Jim Martin
DVXuser Sponsor
With 1233 posts, you have not seen or read anything about base DNA or the look various brands have?.....
trouble is.. the ergonomics is such a dog.. .its hardly use able ... why they didnt learn from the Mk1 I,ll never know.. they didnt get any feed back from that kettle design..???..
Grug
Veteran
Ah, thanks Jim. Internal 12-bit 4:4:4 is definitely a strong selling point.
Woah, was this added in a later firmware?
This does make the C300 look tempting. Have been pondering a visual upgrade from my FS7 for a while. Skin color, and codec being the two reasons.