FS7: Gotchas. quirks, problems & solutions

Okay, this is what Sony says:

NEW FEATURES & IMPROVEMENTS
1.) XDCA-FS7 Support
Activates the support of the optional extension box XDCA-FS7. A PXW-FS7 which has V1.00 installed cannot use the XDCA-FS7.

2.) Operation Stability Improvements
Overall operation performance has been improved.

NOTE
This update is highly recommended to be installed on cameras running with V1.00. The current version can be checked in the System Menu > Version.
 
I believe this is primarily to enable the XDCA-FS7 back but don't have final confirmation yet from Sony. Interesting how the UK site often posts updates before US site. I do not believe that such more pressing concerns as the iris dial is being addressed. We would all be very interested in hearing from users who have installed it.

Ned Soltz
 
Done.

Camera is still working!

Overall menu performance is improved. It's definitely more responsive now.
Not sure about other changes...

WFM still does not work when LUTs are not all on or all off.
Iris dial is as slow and quirky as before...

At least: They still work on the firmware! ;)
 
Erik Wittbusch said:
Done.

Camera is still working!

Overall menu performance is improved. It's definitely more responsive now.
Not sure about other changes...

WFM still does not work when LUTs are not all on or all off.
Iris dial is as slow and quirky as before...

At least: They still work on the firmware! ;)
Click to expand...
I have to say I was a little surprised to see a firmware release so quickly. I hope they keep it up and add features/fixes.

Another minor thing I noticed while trying to see if there was a way to move the Focus Zoom window without having the handgrip attached is that the Wi-Fi remote up/down/left/right controls don't move the window. I figured the remote's arrows would simulate the grip's joystick thing, but it doesn't.

Would be nice if Sony allowed a couple ways of moving the focus box for those of us who don't bring the grip on tightly-packed shoots!
 
Is it possible to transfer footage back to the camera and have playback? I've used old sony's like Ex1 and Ex3 and haven't been able to send files back (even when un-edited) for playback in the camera or decks, which is somewhat of a bummer when I'm working in the field and need to output it in SDI/HD-SDI. Because now I've to use a black magic express to output a HD-SDI-signal from my laptop.

Also, is the same true for new XQD-decks?
 
Would it be possible to update the OP or put a numbered list of issues that Sony need to address together?

Should I make a new thread specifically with the intention of passing the list onto Sony?

Right now I need to have access to WFM in every shooting mode I want, and I need to be able to apply (but not record) a LUT to the monitors in whatever shooting mode I like. This last one might be possible but I'm not sure I've worked it out yet.
 
The last one definitely isn't.

As far as I understand LUTs are only possible when using SLog gamma.

I will meet Sony guys on tuesday giving them a list:

1) Iris dial issue
2) WFM (needs to work always)
3) NR must be available in cineEI (they're already working on it as F5/55 users demand the same)
4) WB in cineEI
5) LUT issues
6) color spaces (S-Gamut3.cine) should be available in custom mode too
7) AF issue (jumps before adjusting in one-push AF mode with my Sony SEL18-200 lens)

If anybody wants to, just PM me a list. But keep it short please!
I'll try to hand my list over to the Sony guy or even better: Get a contact to the
people who are working on the firmware.

I wanted to give the camera back when I found out all these issues. But being an early adopter this time
I'm not really wondering about this. I'll keep the FS7 and try to find my way working with it as I've done
with my trusty FS100. WHen I received the FS100 there were already nice picture profiles around and
I found a good solution with the handgrip of the FS700 and a cheese plate/top handle. I like my FS100
so much. But when I look to the capabilities of the FS7 - the really very nice picture from the LC709A
look profile I have to admit: This is what I want my image to look like technically. I don't want to
rent an Amira if it's only for the output now. This is huge for me!
 
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I don't think I could have the WFM up in SLOG/s-gamut in cine-ie mode.

Oh, and there should probably be a chat about custom WB/tint in CINE-EI mode too even if it is just for monitoring.
 
+1 for the WB on CineEI!

WFM is possible in cineEI, but only if all LUTs are off or all LUTs are on.
Output format on SDI must be set to HD or off.
It works here, but doesn'T work if I put the LUT on for the viewfinder only...
 
ahh okay thanks for the info. will test that but I could survive without LUTs in the short term if I can have the WFM
 
So far with this camera the only thing that bugs me is not being to dial in the Kelvin temp like I'm used to. Luts in Custom would be nice and NR in Cine EI would be nice also but none of these are deal breakers for me. At least I have sorted out how to get the waveform on in both modes.

I haven't shot much yet as I plan to shoot some tests next week with proper lights and setup not just run around my backyard.

One question. I may be missing something but does the ISO button do anything? I can't figure out how to dial in ISO during custom mode beyond setting L/M/H levels of gain. I really don't use a wide variety of ISOs and was used to keeping the C300 at 850 for max DR but if you can't dial in ISO with the button what is the point of the button. I'm probably missing something simple here as I haven't gone through the DVD manual yet.
 
Oh yeah that's another one that wasn't apparent. I have EI gain set to 800 (L)/200 (M)/3200(H) but switching between them doesn't change the evf brightness or gain at all, which I assumed was the only reason for it in CINE-EI
 
Ben Scott said:
Oh yeah that's another one that wasn't apparent. I have EI gain set to 800 (L)/200 (M)/3200(H) but switching between them doesn't change the evf brightness or gain at all, which I assumed was the only reason for it in CINE-EI
Click to expand...
In CineEI mode, the camera always records 2000 ISO to the XQD, so if you are viewing the Slog3 image in your VF, you won't see the EI changes. However, if you apply a LUT to your VF, changing the EI gain will give you a preview of what your shot would look like if you darkened or boosted your image to that level. I.e. If you choose 800 EI, the VF image will get significantly darker (as if you darkened your 2000 ISO shot in post) and if you chose 3200 EI, it will get brighter in your VF, but it still records a 2000 ISO image.
 
Ahh okay gotcha... I knew it was recording at ISO 2000 no matter what but it would have been nice to be able to gauge exposure either with the WFM or even by eye if needs be if you're intending to push/pull in post.

So perhaps having an slog3 LUT on will be the best of both worlds? But then with a LUT that you're not recording on you can't have the WFM on, correct? AGH!
 
OK so is this possible..?

Record Slog3
View LUT
View WFM
Assign EI to HML gain switch
See change on monitor/vf when HML switch used.
Have 3200, 4500 5500 on WB switch (seen on monitor/VF)

S
 
morgan_moore said:
OK so is this possible..?

Record Slog3
View LUT
View WFM
Assign EI to HML gain switch
See change on monitor/vf when HML switch used.
Have 3200, 4500 5500 on WB switch (seen on monitor/VF)

S
Click to expand...
You can do all of that *except* the waveform. So if you're viewing a LUT, you see EI gain switch changes, you see WB changes (values are actually 3200/4300/5500, not 4500), all while recording a flat Slog3 file. Of course, you have no certainty of your clipped shadows/highlights because you don't have any exposure tools (maybe Zebra...? I haven't checked that one).

My biggest gripes with this camera right now are that LUTs remove the waveform and that you can't dial in WB in degrees of 100. If I could do these two things, it would be damn near perfect. Really frustrating.

While it's not an ideal solution, Zacuto is coming out with the Gratical HD and LT. Only difference is the resolution of the micro-OLED screen. Apparently the LT is "significantly cheaper" because it's 1024x768 instead of the HD's 1280x800 (which allows them to show a 1280x720 image, with 80 pixels on the bottom for waveform, vectorscope, histogram).

Gratical also has custom LUTs, so you could just hook into SDI 1 on the FS7 and apply a LUT within the Gratical while still having the Gratical's waveform. Downside of course is that the Gratical HD is $3600. Too rich for my blood... nearly half the cost of the FS7. Hopefully the LT version clocks in under $2k.
 
Thanks for the info.

I guess viewing a LUT which will be recording 'bright' at 62% or something and showing it at 92% (check ali chap blog for full numbers!) or something you should have a lot of highlight headroom for speculars.

A zebra at 95% might be a good tool when using a LUT?

I have no interest in using an offbrand viewfinder - a big USP to the camera is the singularity and single power source, also focus check via handgrip - not available on third party viewers - I could see using a big monitor if I was on sticks.. maybe a 7/7q but not a third party EVF.

if you are not baking your lut I dont really see the need to have dialable WB as those three will get you in the ballpark and the rest happens in the grade. Can be an issue for a director of course.


S
 
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