FS7: Max iso on FS7?

Paul schefz said:
i guess none of this can be done in Cine Ei? so far to me the FS7 is a 800 camera which is fine but trying to get more out of it in post gives me too much noise....i guess i would have to go into custom mode and go from there?
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Are you looking at noise at ISO2000 in log or after a lut and grading? I personally find the noise just fine at 2000 once graded although I do shoot at 1250/800 if I have a lot of underexposed areas.
 
I always shoot Cine EI with ISO at 2000 and find the lack of noise a bad thing! If I add noise my footage looks nicer once graded. Then again I learned to push S-log3 footage beyond what I did with my F3 and then I end up with to little noise!
 
again: just to make sure: the only way to shoot at 2000 in Cine EI is to set the switch on the side to high and all that does is lighten the VF image, the actual recorded file does not change...so it is pretty much just a 1 1/3 stop underexpose from 800 that one has to adjust for in post? am i wrong?
 
Morgan is correct - if you are rating the camera at 1000 ISO - you are still recording slog 2/3 at 2000 in EI mode (unless baking in). So, monitor view will appear a tad darker, likely prompting you to open up a stop and thus you'll want to add an +1 exposure compensation lut in post... which should lessen any noise - not add more.
 
"the only way to shoot at 2000 in Cine EI is to set the switch on the side to high"
There are also settings in the menu to change each position of the L / M / H switch.
 
Now that we have NR in CINE-EI. Have any of you changed your approach for lowlight scenarios? Im currently in need of delivering footage in three ways:

1. No grading or knowledge from client - shoot burned LUT with NR appropriate.

2. Slog3 and the client can handle simple LUTs but not much more - shoot cine EI slog3 with NR appropriate.

3. Footage will be graded and handled by me or colorist/skilled editor - plain slog3 with NR in post.

But what are your limits for each mode? And since EI 2000 is about ISO 1250, EI 4000 should be about ISO 2500 right?
Im thinking about crafting some lowlight LUTs with more crushed blacks.
 
NR in FS7 in CineEI is so good that I really turn it off nowadays. Unless I'm shooting some very fast movement in daylight or very well lit I leave it on. It helps enormously when you're burning LUT.
 
ISO6000 shouldn't be any problems. I filmed during an event last month and their theme were "a dark night" so I had to shoot in a very dim location. Had speedbooster and my Canon 24-105/4 lens to get the reach and sure I did use my Aladdin A-lite set to a low level to provide just a small amount of fill. On the other hand most of the stuff I shot was without the A-lite and it still looked good with a small amount of general noise. Usually I shoot in Cine EI but this time I used one of the HG gamma curves and picked the one which provided the best under these circumstances.
 
I still think EI 4000 with a wide DR LUT is pretty decent and my preffered choice. Leaving CINE EI just makes the camera a mess. The F3 is better shooting slog at 3200 (thats EI 5000 on the fs7) but with a speedbooster and some nice glass you dont need more than EI 4000 and LC-LUTs.
 
I have the F55 not FS7 but I'd assume they are more or less even. In Custom mode the F55 has a S-Gamut3-Like setting that I believe is unique to the F55. Since S-Gamut3 and S-Gamut share nearly identical color space, it grades similarly to Cine-EI and I can use it in Custom ISO 5000 with either S-Log2 or 3. I've had a pretty good (clean) result under moon-lit or star-lit skies with Custom ISO 5000 S-Log2 and NR=High. Good enough to capture the stars under light pollution from city skies. Morgan's HG3 looks like an interesting option, maybe even better? In the lowest light I slightly prefer S-Log2 over S-Log3. It doesn't record quite as much detail in the low key but it's cleaner for the same reason. The difference is small. I'm usually trying to record the night shots for HDR so the highlight handling of S-Log2 is slightly more detailed and saturated than S-Log3, but again, small differences, no wrong choice except for me the little bit of electronic gain from using Custom mode ISO 4000 works a little better than pushing in post native 1250 ISO Cine-IE; and either one S-Log2 or 3 retain the full 14 stop DR. I can't use a Lut in these Custom mode night shots but who cares. It's what I see with the waveform monitor that matters.
 
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Anyone tried burning in Slog3 as a LUT so that you can push or pull changing EI? Seems to work well with slowmo above 60p to record Slog3 at EI1000, gets rid of most noise which is good for compression. Although since its a LUT it might introduce banding and such. I did not see it in my initial testing but could be a problem.
 
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