FS7: FS7 successor (rumours/expectations)

I need to sell my FS7 Mk1 before any successor hits the market. It's been sitting on my desk for the past 3 months because of my new job. Any idea what the used FS7 prices are these days?
 
THe only reason to sell mine is to get two more appropriate cameras.

A raw shooter might work better in the studio Ursa C200?

with something more nimble - AF101 (!) GH5s or Fs5 for RnG work

Ive seen a couple of F5s that are semi affordable too - perfect with/out the raw recorder but still a little limited with no speedbooster.

S
 
Liam Hall said:
I've been toying with selling mine as it'll be four next month. Trouble is, there's nothing as versatile in the market.
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I hear that. If I hadn't of got head hunted for a new studio job I would still be very happy using my Fs7. I'm now shooting with the EVA1 and like some things much more and miss other features that were easy on the FS7 (like shooting offspeed)
 
FrameFarmMedia said:
I hear that. If I hadn't of got head hunted for a new studio job I would still be very happy using my Fs7. I'm now shooting with the EVA1 and like some things much more and miss other features that were easy on the FS7 (like shooting offspeed)
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I like the image from the EVA1, my issue the EVA1 is the amount of slow motion I shoot. What else do you miss from the FS7? And congrats on the job!
 
With BMD pushing boundries again with their own raw format Sony will soon have to step up... it could be as little as quiting the Bs with hardware locked formats.
 
The only reason I sold my FS7 was to pick up a FS7II. I really don't like any of the other options on the market over the FS7/FS7II. The others all have too many shortcomings. Sony just hit more with one camera than anyone else and it's been that way with the FS7's for several years now.
 
Liam Hall said:
I've been toying with selling mine as it'll be four next month. Trouble is, there's nothing as versatile in the market.
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I sold my FS7 MK 1 back in 2015 and went over to the C300 MKII.
I enjoyed it until the C200 came out then sold my C300 MKII and now I'm again considering the FS7 II or possibly the FS5 II... why...?
The C200 mp4 is a clean image but its hard work trying to persuade some clients on the camera, it's just too niche, I've found that out the hard way over the last year :) and in some ways, probably should've stuck with the C300 MKII
The C200 is basically the poor mans Red, and when I started working on higher end projects that deserved a raw image, I would just eventually quote for a Red and slowly realized my C200 was collecting dust.

One thing I really missed from the FS7 was the FF look the speedbooster gives you and the off-speed options and of course the time saving attributes compared to knuckling down the Canon Raw Lite codec.

Sony's are still the dominant force for corporate / events etc. and there really isn't anything else out there to compete apart from maybe the C300 mkII and that is from producers who are die-hard C300 mk 1 fans.

I also really like the idea of the Ursa Mini Pro, but most clients still laugh at the idea of a BM cam over a Sony where I am.
 
AF101?

Im semi having a laugh but Im interested in the Oly 12-100 MFT zoom (as the smallest RnG lens on the planet) it is apparently not awful, maybe.

Obviously the MFT zoom doesn't fit onto the EVA because panasonic made a strategic error and turned that camera into a gh5 (and everyone who owns GH5 glass) orphan with EF - a mount so inappropriate to video that even canon have binned it

12-100, 25.095, ND XLR, AF 101 - seems like an interesting package!

S
 
Liam Hall said:
I like the image from the EVA1, my issue the EVA1 is the amount of slow motion I shoot. What else do you miss from the FS7? And congrats on the job!
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The slow motion being clunky is really the only thing on the EVA1 that I miss from the FS7. The EVA1 VF sucks but I never use built in VF so I treat it like a touch pad to easily access the home page and change functions. I do wish the EVA1 had the same 2x SDI as the FS7 but it hasn't been a big issue. The non log colour from the EVA1 is a big step ahead of the FS7 as is the ability to record the output to prores without the back unit (we record to atomos sumo).
 
It’s natural that we all want to upgrade, fs7 it’s not a perfect camera. But it’s such a versatilw tool, with great image that there’s nothing like that on a market that could take over.
I was considering Red Gemini but it’s a tool for a limited amount of jobs. Reliability is not as good and requires a lot more power than FS7.
 
Gemeni and Scarlet are definitely power hogs. Not to mention flying with Anton bowers is a total pain (they must be discharged) and you need about 4 of them plus the huge 4 bay charger for any type of long shoots. I like to take my gear onboard in carry on to ensure it ends up on location with me and with a red and required batteries this typically is not an option. It just makes things so stinking impractical unless you are set and on big budgets.

I have had the chance to work with Gemeni, Scarlet-W, FS5, FS7, EVA-1, and Ursa and they all have their pros and cons and all can produce extraordinary images if used appropriately.

But what people don't realize about RED and one of their biggest drawbacks in my opinion is power up time. For run and gun, events, sports, action, docs, and other instances where you need to turn on your camera and shoot within a matter of seconds (and maybe turn it off and on to save battery for an all day event on location) forget about it. Red's also can run very hot at times in summer heat and I was never fond of testing those cameras in the elements and that has always worried me.

My FS5/FS7 are much better for run and gun, events, and pretty much anything that is not on set in my opinion. I do quite a bit of traveling for mountaineering and skiing and have been lucky to be a part of and witness some professional ski films going down and every single time it has been FS5 / FS7's time and time again.

Talk about a stressful environment for a camera (Alaskan / British Columbia Backcountry). Same goes for pretty much every hunting, mountain biking, or climbing film other than some of your super high dollar productions which use shotovers / reds. The Audi / Candide Thovex ski commercial series were all shot on Sony.

https://www.youtube.com/watch?v=FMqADdsVmwQ

If you do the research you will see they were shot on Sony. I think there is something to be said for the versatility, reliability, and overall production value to these cameras.
 
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cane141 said:
I sold my FS7 MK 1 back in 2015 and went over to the C300 MKII.
I enjoyed it until the C200 came out then sold my C300 MKII and now I'm again considering the FS7 II or possibly the FS5 II... why...?
The C200 mp4 is a clean image but its hard work trying to persuade some clients on the camera, it's just too niche, I've found that out the hard way over the last year :) and in some ways, probably should've stuck with the C300 MKII
The C200 is basically the poor mans Red, and when I started working on higher end projects that deserved a raw image, I would just eventually quote for a Red and slowly realized my C200 was collecting dust.

One thing I really missed from the FS7 was the FF look the speedbooster gives you and the off-speed options and of course the time saving attributes compared to knuckling down the Canon Raw Lite codec.

Sony's are still the dominant force for corporate / events etc. and there really isn't anything else out there to compete apart from maybe the C300 mkII and that is from producers who are die-hard C300 mk 1 fans.

I also really like the idea of the Ursa Mini Pro, but most clients still laugh at the idea of a BM cam over a Sony where I am.
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I see the 200 largely as a camera for those doing turn-key productions or in the "I don't care what camera you have" market(not saying anything about the cam's actual quality). Anything mid-level, broadcast/network, or higher, you need to stick to the "IT" cameras that are known(C300, C300mkII, fs7/fs7II, F5/F55, Amira, ALEXA, RED). I know there are guys on here that swear by the BlackMagic image, now, but I know people that were burned by the first generation of their cams and will not touch them or have anything to do with them or let them anywhere near a professional/mission critical production.
 
JCummings said:
I fly all the time with A/Bs. I'm pretty sure you only have to discharge when you're shipping them as freight.
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And I think they only have be down around 30%, not a full discharge. Or people can just buy batteries that meet the carry-on requirements. I read a lot of posts where I think guys make big trade-offs and sacrifices with gear, just so they can fly with it in the easiest possible fashion. At some point you have to look and think about why you are traveling somewhere. To shoot. You have to take what you need to do it properly. I hate flying with gear and that's why I ship it ahead of me the majority of the time. I'm having a hard time remembering the last time I flew with a camera and it wasn't on a private aircraft.
 
The Anton Bauer Performance chargers have an airplane mode that will automatically discharge the batteries to legal levels for flying. I think 30% is correct but I don't use it. I just carry-on fully charged 90W batteries each in it's own ziplock baggy to avoid having anything removed by TSA in my checked bags. I've never had anyone even give my carry-on batteries a second look.
 
I hate to beat a dead horse about battery travel, but the 30% charge restriction only applies to batteries that are shipped as cargo (on cargo flights only) along with special requirements on packaging, labeling and paperwork. No professional camera batteries are allowed as checked baggage on any passenger aircraft ever, under any circumstances.

According to FAA and IATA rules and guidelines, passengers can carry an "up to 15" (100Wh and under) spare batteries on-board and up to two additional higher capacity (101-160Wh) batteries. Nothing over 160Wh is allowed. Individual airlines can set their own restrictions on the number of carry-on batteries. Always a good idea to check with your carrier first.

There is no language regarding state of charge restrictions on allowed carry-on batteries.

Only that they must be individually and securely packed and protected against short-circuiting. Again, no professional camera batteries are allowed as checked baggage on any passenger aircraft under any circumstances, regardless if they are charged or not. As far as I can determine, the installed battery exception does not apply to pro camera batteries.

Anton Bauer has two informative guides with links to all the current U.S. regulations here:

http://www.antonbauer.com/en-US/Transportation-Information/safety-regulations-when-travelling-with-lithium-ion-batteries

http://www.antonbauer.com/en-US/Transportation-Information/taking-the-hassle-out-of-battery-travel

I believe most major foreign IATA carriers go along with the U.S. guidelines, but I would research that carefully before you go.

To review...

1. Can you check camera batteries on your passenger flight if you discharge them to 30%? NO

2. Must you first discharge your allowed carry-on batteries? No, they can fly fully charged.
 
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