FS7: Gotchas. quirks, problems & solutions

nsoltz said:
The Mark IV has been discussed on the forum as having some issues with certain lenses. Check the Metabones site for instructions to make certain that when you use the Mark IV, you use the "Advanced" rather than "Green" mode. The 1.01 FS7 firmware update as well as the Metabones update are supposed to address some of that. In actualty, the FS7 1.01 update does not seem to affect the Metabones issues, while the Metabones firmware udate for the Mark IV and the Ultra do have some effect.

Sony rebate will give you a free Mark II which is no longer available for retail sale but which did not seem to have issues with the FS-7.

Looking forward to seeing your footage and to hearing your impressions

Ned
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Yep, saw that about the Advanced but was not clear on how to do it. Folks say push a button without showing the button. Anyway, I got it to work. As I said in another thread, no flashing, slow IRIS, but usable with the 24-105/F4L. BTW, don't know if you saw this elsewhere but mine's a rental. I am one of those dang Nikon shooters so I am waiting on my Ultra F to E coming from B&H. I should do the free Mark II and sell it. May see if the firmware update will load on the rental adapter.

And no, you do not want to see my footage;-) But I will get better.

I really appreciate the help,
Robert
PS: That sensor so close to opening is a little scary. Not used to that. My HPX300a may be similar but I never remove the ENG lens that is on it.
 
infohou said:
Yep, saw that about the Advanced but was not clear on how to do it. Folks say push a button without showing the button. Anyway, I got it to work. As I said in another thread, no flashing, slow IRIS, but usable with the 24-105/F4L. BTW, don't know if you saw this elsewhere but mine's a rental. I am one of those dang Nikon shooters so I am waiting on my Ultra F to E coming from B&H. I should do the free Mark II and sell it. May see if the firmware update will load on the rental adapter.

And no, you do not want to see my footage;-) But I will get better.

I really appreciate the help,
Robert
PS: That sensor so close to opening is a little scary. Not used to that. My HPX300a may be similar but I never remove the ENG lens that is on it.
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I think what you're referring to is actually just a glass filter. The sensor is further back, behind the ND filters.
 
nsoltz said:
Solution for the moment could be as simple as using adatper and glass with manual iris. Have you actually tested the FS-7 with E glass or EF glass via adapter to see if it is really a problem for you? Or are you just relying upon internet chatter?

Ned Soltz
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We shot all day with the metabones ultra and a canon 24-105 and the iris changes were laughably slow. So it's a real problem. It's not chatter it's actually happening.

I agree that manual glass is a great solution, I use a bunch of primes myself. But plenty of people still have EF glass, and if that means we are below Doug's professional standards, so be it. ;)
 
I have all Nikon glass - zooms and Zeiss ZF primes that I used with my F3. I was planning to switch over to all Canon to have IS and have all my lenses focus in the proper direction. For now though I'm sticking with Nikon and got metabones Nikon speed booster and standard adapters from B&H which has extended holiday return policy to Feb 1st. If the problem is solved by then I may switch to Canon after all, but at least I have manual step less aperture control on most of my lenses.

I did get the Sony SELP 18-105 and the previous non power 18-200 for run & gun work where the F3 was sorely lacking. Actually I'm liking those lenses quite a bit once you learn to live with their issues. The range is great, they look sharp , I get IS and push auto focus which is unusable during a shot but very effective between shots. It does have the same slow iris problem, but the side iris knob is much faster (not ideal of course).
I was surprised to find the 18-105 can give me a useable easy power zoom with the rocker arm. I'm often asked to do a slow push in and its always hard with any manual lens. I may try the SELP 18-200 to see if that works also.

At this point I'm more concerned with the the whole LUT , white balance, waveform problem. Even extending the range for zebras below 50 would help and that must be possible within the processing power. If Sony can't or won't solve those issues it will be an unnecessary pain in the butt.

here's a question I haven't seen an answer to:
Does the F5/F55 have the same limitations with Waveform and LUT's?

Lenny
I'm thinking now about getting a small HD DP7-ProLCD monitor and using it like I did my TV logic which sat on my f3 almost all the time. You'll have waveform, Luts and the ability to do minor color correction all the time and you cans end that to client monitors. I'm not sure the reviews are in for the color quality of the LUT's though.
I know the OLED is better but that's an additional $1000.
 
I know we were talking about accessories and rigging the camera, so I thought I'd cross-post the info from another topic I made, that Berkey's top plate is now available:

Berkey System - FS7 Top Plate

There are two options: the "horseshoe" (as I call it) and the full set.

The horseshoe is the standard top plate that is made to accommodate the stock FS7 handle, since there are a lot of people that love the native functionality (rec, zoom, GPS, Sony hot shoe) of the handle. This gives a nice mounting surface around the handle.

The second option is the "full" set. This includes the "horseshoe" as well as an extra inner plate that can fill the opening left from removing the FS7 handle and provide extra mounting points. This inner plate is removable so I think it's important to point out that the "full" version is adaptable for use with and without the stock handle. This will definitely be my pick, since I am usually using Berkey's Versa NATO handle. But if I run into a situation where I want the stock handle, I can just pop out the center plate and put the FS7 handle in its place.

Let me know what you guys think of the design, I'll be heading over to Berkey's a bit later today to take some pictures of it mounted on the FS7 (with the stock handle + "full" set w/ NATO handle) and that will give you a good idea of where it sits on top of the camera.
 
Does anyone have an email for Sony? I'm not talking Prime support but an actual Sony contact that will have play in the next firmware update? I'd like to report some issues.

1. Camera image freezes when in certain shooting modes. Menu's still work but image freezes shortly after startup.
2. File corruption! On the XQD's even before dumping them on a computer.

Best
 
sulouh said:
Does anyone have an email for Sony? I'm not talking Prime support but an actual Sony contact that will have play in the next firmware update? I'd like to report some issues.

1. Camera image freezes when in certain shooting modes. Menu's still work but image freezes shortly after startup.
2. File corruption! On the XQD's even before dumping them on a computer.

Best
Click to expand...

An individual with direct input into Sony firmware upgrades posts on the Sony Community forum.

Here is a link to his user name and profile-

http://community.sony.com/t5/user/viewprofilepage/user-id/35673
 
Mknobil said:
I got the Call from Abel NY today.
I am delaying shipment until I am sure the iris control bug will be worked out.
I shoot doccos, and it is imperative to have good, quick, control of f-stop.
This should be a dealbraker for anyone shooting documentaries with native E mount or Canon glass via a smart adapter.
Anyone else going to the Abel NY event on the 1st?
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The Commlite EF to E-mount adapter is quite fast, particularly with the Fs7 firmware update. While stepped it is usable in Run & Gun documentary style shooting. One turn of the wheel on the Fs7 grip results in a 2-stop iris change with my Canon 24-70mm. ( If I use the length of my finger to enact a long turn of the wheel I can go from f/2.8 to f/5 with one turn of the wheel. Two turns of the wheel in this manner take my lens from f/2.8 to f/10. ) Considering the difficulty in hitting the tiny buttons on an Optitek adapter and the manner in which that adapter would sometimes jump from lens wide open to iris nearly closed or do nothing at all when I hit the button, the Commlite and EF glass combination is pretty darn good. While not as good as true manual iris pulling I think you would be satisfied with the performance.
 
One thing on the Commlite adapter has me concerned. I noticed it has the square opening, which the first generation Metabones had as well. When shooting on fast lenses under f2, the Bokeh was clipped / chopped off because of the square opening.

Metabones then released the Mark II which had a round opening which fixed the Bokeh chopping problem.

Can anyone test this on the Commlite? I have a feeling the Bokeh will have the clipped shape when shot under f2.
 
gene_can_sing said:
One thing on the Commlite adapter has me concerned. I noticed it has the square opening, which the first generation Metabones had as well. When shooting on fast lenses under f2, the Bokeh was clipped / chopped off because of the square opening.

Metabones then released the Mark II which had a round opening which fixed the Bokeh chopping problem.

Can anyone test this on the Commlite? I have a feeling the Bokeh will have the clipped shape when shot under f2.
Click to expand...

I can confirm that the Commlite has a rectangular opening albeit with slight rounding on each side of the rectangle.

Can't test as you inquire because I only own EF zooms and none of them are faster than f/2.8. I would think that if one is using a prime lens then you are not doing run and gun shooting and thus no need for the speed of the Commlite. Are there even any EF lenses faster than a f/2 that are not primes? "primes" and "speedy shooting" are rarely two things that go together. Using prime lenses typically means more meticulous shooting that involves lens changes more frequently than shooting with zooms, shooting that isn't rushed or in much need for speed.
 
Could we write a summary of 2.0 firmware issues ? (If it's not already in place).

With my gear :

- No Black Gamma when I shoot in HG : it's greyed "cannot proceed".
- No Waveform, Vectorscope and Histogram when I film in 4K (still in HG).
- Only 2 or 3 seconds played in Rec Review. Unusable ! However : "The clip is played to the end" (manual, page 44).

What about your stuff ?
 
Don't remember for sure , but black gamma may be greyed out for the same reason that knee is greyed out in hyper gamma, that its a part pf the curve and not adjustable.
I can't remember what works when , but Do you have lens distortion comp on . That will screw you up.
 
Ben Scott said:
turn the sdi output from letter box to edge crop.
Click to expand...
Thanks for clue, Ben ! Works for me :

- SDI Output : ON
- HDMI Output : ON
- HDMI Settings : Monitor or Recorder (no matter)
- HD Conv : Letter Box (not Edge Crop)

Strange ritual to invoke a little video assist... But it actually rules.
 
Thanks for the distillation.

Thanks for the distillation.

:happy::happy:
Lenilenapi said:
In an effort to finally put the main FS7 thread to rest and keep the most important issues front and center , here are notes I've taken from couple of previous posts.
All of this one is basically copied and slightly edited from Paul Antico 's blog at "Anticipate Media"

http://www.anticipatemedia.com/blog...-with-the-news-sony-pxw-fs7-4k-super35-camera

I don't want to be ripping you off Paul, so if there is a problem I'll pull all of this , but I figured it was buried in the other thread and its very good information, well organized. Thank you immensely .

BTW - Another good place for info about tech problems and solutions is Alistair Chapman's comment section after his review of the FS7

http://www.xdcam-user.com/2014/10/notes-on-the-production-versions-of-the-pxw-fs7/#comment-46003

Oh yeah - Please no extraneous discussions about Sony vs whatever- keep this technical.

Lenny Levy
------------------------

Missing Waveform Monitor ("Video Signal Monitor"): [UPDATE: SOLVED] Sony says (and this is not in the manual), is to ensure your output video via SDI and HDMI is set to 1080 when recording internally to 4k.
Sony:
"Currently, you do not have a waveform monitor unless you have the video output set to "SDI=1920/HDMI = "----" [you can still record to the cards in 4k when you have the output setting this way -Paul]. It seems to be a limitation in the character generator "pop-up" displays.
This worked for me, and it was repeatable.
That said, some people still have issues. Dan Chung said Only a total reset of the camera eventually worked. So there may be some other issues at play here.


Can't use VF LUT without also burning it into the footage on the card: [UPDATE: SOLVED]
I discovered that having "distortion compensation" ON in the lens menu under System causes the LUTs to be frozen out.


Previous to fix couldn't get LUTs to work in CineEI mode such that it only shows on the viewfinder or SDI2. Right now it's linked to SD1 which is also linked to internal recording Sony is trying to figure out why for me. They claim it should work but it doesn't:
"... about the MLUT is also related to the video output menu. If you drop down to 1080, then you will have independent control of each of the possible LUT destinations.
Well, this did not work for me. but "distortion " did


Metabones EF Smart/Ultra Adapter Woes? [UPDATE: SOLVED, MAYBE] I have one of these and have tested successfully (Iris control/display and IS) on it the Canon 24-105 F4L IS and 70-200 F2.8 IS II and Canon 50 1.4 with the Metabones EF-NEX Smart Adapter Mark IV. Also fine w 3 EF Rokinon Cine lenses,
But apparently older versions (according to many reports) may not work without a firmware update installed in Hong Kong at Metabones, and the Ultra Speedbooster model apparently has some issues. [The IV is user upgradable thankfully; Not sure about Ultra as I don't have one.]
Dan Chung of NewsShooter.com is seeing a myriad of issues with a few Metabones adapters.


My adapter may be in Eco mode as opposed to Advanced. This means the shutter opens wide-open then closes to your selected aperture every time you click the wheel. This can be troublesome for shooting documentary or news as you may see a flash of overexposure on the screen for a moment.
[UPDATE] I re-tested this and I indeed saw the flashes. I even updated to the latest just released 10/31/14 firmware V36.


But there is a solution! (Keep reading)
even after updating the firmware, it dials down fine, but go back up and it flashes.
However, when I put it into Advanced mode:
  1. Mount everything (adapter, then lens) to your camera with the camera OFF
  2. Hold down "Wide Open" button on Metabones adapter as you turn the camera back on
The problem goes away!
If you've had success with this and own a FS7, let me know. But I consider this issue solved at this point.
That said, the iris change while dialing is horribly inconsistent (see below). This is true of almost all my lenses though, even my Sony native E mount glass, so I don't want to assign the dial issue to Metabones just yet.


There's a few big takeaways here.
1- the FS7 can't show waveforms or independent LUTs if your output format is anything but HD.
-You can still record in 4K, and in any framerate,
-but your output via the ports must be in HD.
- If you want to output 4K (to monitor in 4k or record externally in it) you will lose independent (i.e, non-burnable) LUTS and waveforms.


2- Metabones adapters give different results depending on your EF specific lens, and need to be turned to Advanced mode every time it's used.
And the dial issue below compounds the adapter issue. But MY EF glass works fine. I can change the iris, use IS.


3. turning the dials to change iris, gain/ISO, or white balance requires far more turns than it should of the dial. you need to turn that dial a full go around just to effect one change. Essentially, the dial on it and the body is not a one-for-one turn. E.g. If you're changing ISO you need to turn it a full turn to change one stop. Weird. And that isn't even consistent.
This is of course quite annoying and can slow you down during a shoot. And with different lenses it's not consistent.
Gain and WB can be worked around with the three-way switches but the iris is indeed a pain; it's just not predictable- more like "spin and pray"

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