FS700 + O7Q 240fps impressions

McReedy

McReedy

Active member
https://vimeo.com/86794107

Here is a random shooting I did yesterday - recorded on the Odyssey 7Q 240fps only.

Each shot was tried to ettr and heavy graded in DaVinci Resolve 10 (DNG > BMD Film > linear2slog2), but no noise reduction was used.

I think it shows how great DR the camera delivers even in high-speed mode, not comparable with the internal buffermode.

Beware its a little bit long (5mins ;-)
 
Wow McReedy, GREAT job. That was stunning to say the least. The compositions, your shot / subject choices was spot on. And the grade looked fantastic. I love that low saturation / muted look.

1) Did you only use the 70-200? That's a beast of lens but I love it.

2) What type of rigs / support did you use? How did you rig the 70-200 with the 7Q to your FS700?

3) Did you shoot with I.S. on? I've noticed with the 70-200, the I.S. can feel kind of steppy at times.
 
gene_can_sing said:
Wow McReedy, GREAT job. That was stunning to say the least. The compositions, your shot / subject choices was spot on. And the grade looked fantastic. I love that low saturation / muted look.

1) Did you only use the 70-200? That's a beast of lens but I love it.

2) What type of rigs / support did you use? How did you rig the 70-200 with the 7Q to your FS700?

3) Did you shoot with I.S. on? I've noticed with the 70-200, the I.S. can feel kind of steppy at times.
Click to expand...

thanks Gene, I was inspired by your Crimson and Clover shooting! Testing the hardware on real environment is very important ;-)

1- I used the 70-200 2.8 II and the 24-70 2.8 II both with speedbooster on 3 wide angle shots on the river.

2- For this kind of run and gun sessions I like to keep it simple: no rig, no tripod just the O7Q on Top with the great 10" Cinecoil SDI cable.

3- Exactly, specially with fast pans its getting steppy, here I disable the IS before (mostly).
 
very nice! love the shots and the grade too. I wonder how you managed to shoot handheld with the huge 2.8/70-200 plus speedbooster. Wow. I tried to shoot handheld with the movcam cage plus 7Q plus 24-105 plus speedbooster and I got tired quite soon :-(
 
The latitude is just breathtaking, as are the shots of the birds. The Odyssey really put the FS700 at a new level. Did anyone figure out the stops DR we could get out of the camera now? 13.5?
 
Slog2 on FS700 is 6 over and 5 under 18% + maybe another noise stop. So its 12 usable stops, overall maybe 12,5.
 
Moire is pretty much the same with the slo mo from the 7Q. It's straight lines that are a problem. First thing I noticed.
 
I should add that IMO that's an acceptable pay off for a camera that pretty much over performs in every department for it's price range.
 
Clermond said:
very nice! love the shots and the grade too. I wonder how you managed to shoot handheld with the huge 2.8/70-200 plus speedbooster. Wow. I tried to shoot handheld with the movcam cage plus 7Q plus 24-105 plus speedbooster and I got tired quite soon :-(
Click to expand...

I've shot quite a few things using the 70-200 handheld. Works pretty good in 240fps since it smooths everything out so much. With 240fps, you could be doing jumping jacks and it would still look pretty smooth! :)
 
Great video! Shame about the alias-y shimmer occasionally, let's hope we get improvement from the subsampled 4K. The lifted blacks in the grade are deliberate? Or is it a local/ vimeo thing? Like the grade but to my tastes I'd love to see the occasional colour punch though a little more!
Kris
 
RTMotion said:
Great video! Shame about the alias-y shimmer occasionally, let's hope we get improvement from the subsampled 4K. The lifted blacks in the grade are deliberate? Or is it a local/ vimeo thing? Like the grade but to my tastes I'd love to see the occasional colour punch though a little more!
Kris
Click to expand...




Thanks, you have to work very carfully with the dng files, davinci sharpening is not really a good option because the strong wavelet compression from the camera (specially on high contrast areas, the blocks are big). It also depends if you shoot a low DOF tele or a sharp total angle. A little NR helps a bit to clean the image from this artefacts (not used in the posted video) sometimes. The 24p mode shows the same artifacts (on my settings!), you notice them also on the onboard viewfinder if you peak. I'm really looking forward for the great 4K raw option, I'm sure it will improve the alias combinded with the great DR.
Yes, the blacks in the video were lifted - on the 2K RAW the 12bit colordepth is amazing and also the improved detail compared to the onboard avchd!
 
RTMotion said:
Which part of the chain is wavelet compressed? (wasn't aware of that)

Kris
Click to expand...

Well if you sit down and work out the data rate for 240 fps 2K uncompressed and the look at the specs on a 3G SDI port you'll see some pretty heavy compression is being applied. Of course compressing RAW data is different to RGB but even so, i can see compression artefacts on lots of 2K stuff. I'm not sure whether the compression is variable either - in other words 240fps being more heavily compressed than 25. I presume it would be, but not quantified it.

cheers
Paul
 
Makes sense. I'd assumed that's what was being referred to but I'd never heard it mentioned before. Probably JPEG2000.
 
I was under the impression the compression to the RAW applied before output over the SDI port was essentially the same as the 3.6:1 compression used by the F5/F55 and R5.
 
nyvz said:
I was under the impression the compression to the RAW applied before output over the SDI port was essentially the same as the 3.6:1 compression used by the F5/F55 and R5.
Click to expand...

What is the 2K signal? Is it 12bit-per-pixel Bayer?

If so .... 2048 * 1080 * 12 * 240 / (2^30) = ~6Gb/s

And 4K @ 60fps would give an identical bandwidth, 4096 * 2160 * 12 * 60 / (2^30)

So, 3.6:1 would be fine, and it's very possible that all modes would use this same rate. This is NOT my area, I'd be interested in finding out more if anyone has any info,

Kris
 
RTMotion said:
What is the 2K signal? Is it 12bit-per-pixel Bayer?


If so .... 2048 * 1080 * 12 * 240 / (2^30) = ~6Gb/s


And 4K @ 60fps would give an identical bandwidth, 4096 * 2160 * 12 * 60 / (2^30)


So, 3.6:1 would be fine, and it's very possible that all modes would use this same rate. This is NOT my area, I'd be interested in finding out more if anyone has any info,


Kris
Click to expand...




Please be aware of the following calculation - its only based IMO (please correct me if I'm totaly wrong)!


FS700 takes the Output with a rate of a 2.12:1 compression:


2K (2048x1080)*12bit = 3.317 MB/frame (needed)
4K (4096x2160)*12bit = 13.271 MB/frame (needed)


3G SDI gives us about 3000MBit/s (makes sense).
Because the 24fps 2K recording shows the same wavelet-compressed image as the 240fps it uses the same compressionrate (I think also on the 4K RAW @60fps), so if we take:


2K (2048x1080)*12bit@240fps = 1.562 MB/frame (compressed framerate possible with 3G SDI @240fps)
4K (4096x1080)*12bit@60fps = 6.25 MB/frame (also compressed)


3.317 / 1.562 = 2.12336
13.271 / 6.25 = 2.12336


So we get the compression rate 2.12:1 (even if we "unpack" the signal later to a "uncompressed" DNG ;-) Its amazing how fast the O7q must be able to handle the huge amount of data in realtime! NOTE: You see the wavelet-compression already "before" the 3G SDI Output on the onboard LCD (specially on high-contrast-areas).
 
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