FS7: New 2.1 firmware

Not being able to have a monitor LUT while output is set to QFHD is a tricky one to live with. Makes two things difficult: focusing the lens (because of lack of contrast) and judging exposure. I tend to under expose my footage by 2 stops without an MLUT. Workaround is to use the WFM on my Shogun and set exposure for the situation lighting and leave it, no matter how bad it looks in the VF with no compensation.

I just got done shooting around town yesterday with the FS7/Shogun setup. I got mixed results, but mostly quite good. I was +/- 1 stop across my day shots, and I found that stop compensation in the LUTs I use to grade it with took up the slack.

The VF really needs one or the other, LUTs or WFM. Ideal would be both, but to have neither (when shooting 4K and outputting 2160P from the HDMI to external recorder) is a pretty serious handicap that takes experience with the camera in many lighting situations to build up a mental 'table' of exposure looks that don't translate to the real world. IOW, the shooter must lean to analyze uncompensated S-Log3 and determine exposure from what looks like a washed-out image. The hardest part is that determining focus on such a low contrast image is harder than expected. The difference between HD and 4K look is a tiny smidge of rotation on the focus ring. Focus is REALLY critical if you want 4K footage that differentiates itself from 1080P.
 
Mine are set to zebra 2 at 62%. I find the camera quite likes a bit of over exposure, (as long as you're not clipping highlights), particularly indoors.
 
I use zebras too, but have found that the clipping point isn't always the same, depending on other settings. But generally, around 82% for the onset of clipping with no LUT in S-Log3. Yes, this camera likes to be exposed high key.
 
You don't use zebras to find the clipping point when shooting SLog3, you use it to find 90% white - you should have another 3 stops or so above that point to allow for highlight roll off. This is VERY important to understand otherwise you will consistently be under exposing!

clip point in Slog3 is always 93%.
 
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Ok, so can we guys summarise what changes have you noticed with this new 2.1 firmware besides what is officially stated? Slog3 monitoring in Cine EI is b&w on viewfinder after update for me.
 
Would anyone happen to know why my FS7's fan is working really hard, and the back red light is continuously blinking after the update? I can't get the camera to display an image either
 
Hey 1027Films,

Are you sure that you completed the FW update process? In the Sony instruction PDF it mentions that the update is done in two phases. My experience of the update was that phase one took place quickly and quietly, and phase two took much longer (9min34sec), with the light blinking and fan running throughout.

In the instructions it also notes that if your FW update didn't work, you should try again from the beginning. Obviously you could only do this if you can power on your camera. If you can't, then try removing everything (lens/adaptor, grip, LCD, battery, media, DC in), leaving for 10mins and then replace only the battery and LCD before powering on again.

Good luck!

jason
 
1027Films said:
Would anyone happen to know why my FS7's fan is working really hard, and the back red light is continuously blinking after the update? I can't get the camera to display an image either
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The firmware update isn't finished when the screen turns off and the tally light is blinking. Try and keep it on, and leave it for twenty minutes - and see if it finishes the update. If not, you may have bricked it by turning the power switch off during the update. You may have to send to Sony.

Always read instructions carefully prior to firmware updating. The Sony firmware updates frequently include a stage where the LCD is off and only the tally light blinks. It's important to not touch the camera during this, and to not remove power. Usually lasts five minutes or less.
 
I leave the room and don't come back until at least 30 minutes have gone by just so there is no chance of me interrupting it.
 
I did my update yesterday, I updated the camera using the dc power supply but as I didnt have a four pin power dc for my xdca back I upgraded its firmware using a fully charged v lock and it worked out fine, the us power adapter warnings were concerning me that battery power would not work. Actually today we had a power black out so I'd hate to think what would have happened had I have done the camera upgrade today.

So far everything seems good re the new firmware, really looking forward to centre crop though. Re touching the camera during the firmware update process I agree that it's hands off until the screen says done. The camera will reboot a couple of times just don't do anything until you see completed in the lcd screen.
 
Thanks Doug I'll order one of those, btw I really enjoyed your training series on the fs7 it was money well spent for me. I am re watching a few of the chapters while I still have the subscription. I was going to ask you though did you have some fs7 custom scene files for download somewhere? I'm trying to find a nice scene file for clients that don't grade.
 
Paul schefz said:
is there any reason to actually upgrade to this?
i also can't find a link at the sony usa site
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I'm still on V1.1 (thought I'd hang on a little).

Interesting reading all the gripe on here. Mine works fine (now). I use CineEI Slog3 almost exclusively so the magenta problem it not an issue. Sorted out the short-comings with S&Q... I know about the shutter bug but live with it.. Using the Kit lens but remind myself with a little note on a small strip of white gaffer tape above the battery housing to reselect IOS on switch on... I live with this - it's part of the operational procedure...

I do so because the pictures are stunning and the Kit lens is wonderful (pin sharp and no discernible CA) and the XAVC workflow is smooth and economical: Injest and Edit in Adobe CC 2014>> Add LUT and Colour Grade in Resolve>> Layback Colour Grade to Adobe CC 2014>> VO & Audio Dub in Adobe Audition if needed (or in the Adobe CC 2014 Timeline) >>> Layback audio to Adobe CC2014 and Deliver. That's the workflow style I am use to in old-school broadcast television here in the UK.

Sadly, I will have to "upgrade" the firmware soon as I need to use 4K on an upcoming shoot. I just need to make sure I do this at least 7 days prior in order to give the camera a proper shakedown.

Claire
 
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Speaking of the magenta issue, I've noticed a color shift with certain colors in S-Log3, worse in S-gamut, not so bad in the cine variety of S-gamut.

The green leaves shift a bit toward cyan, and red light sources like traffic lights appear magenta.

Red objects seem to retain the right color, but light sources shift to magenta. It happens regardless of exposure value. Red LED numeric displays show this with particular accentuation. Traffic lights, less so, but it's visible in my downtown video. More subtle, is the shift of greens toward cyan.

This does not occur in S-log2 and REC709 modes.

I thought this was a LUT issue, but I've been experimenting with LUTcalc and have not been able to find a combination of settings that tune out this color shift.
 
ryaninoz said:
Thanks Doug I'll order one of those, btw I really enjoyed your training series on the fs7 it was money well spent for me. I am re watching a few of the chapters while I still have the subscription. I was going to ask you though did you have some fs7 custom scene files for download somewhere? I'm trying to find a nice scene file for clients that don't grade.
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Hi Ryan, I'm glad you liked the training series, thank you very much for the feedback.
If you take another look at chapter 15 there is a link and download instructions for three of my scene files. Two of them are true WYSIWYG and the other one just requires a little adjustment in post to finalize it.
 
basspig said:
Speaking of the magenta issue, I've noticed a color shift with certain colors in S-Log3, worse in S-gamut, not so bad in the cine variety of S-gamut.

The green leaves shift a bit toward cyan, and red light sources like traffic lights appear magenta.

Red objects seem to retain the right color, but light sources shift to magenta. It happens regardless of exposure value. Red LED numeric displays show this with particular accentuation. Traffic lights, less so, but it's visible in my downtown video. More subtle, is the shift of greens toward cyan.

This does not occur in S-log2 and REC709 modes.

I thought this was a LUT issue, but I've been experimenting with LUTcalc and have not been able to find a combination of settings that tune out this color shift.
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That's interesting Mark, I have no problem with colour shifts. In fact I shot a small project in March (it was my first project in the field with the FS7K) - it includes traffic lights. The reds are fine, the green light is indeed more towards the cyan but the colour of the light is correct and is as - I made a note of the hue at the time (these works lights all seem to be the same towards cyan here in the UK. The road sign reds are also correct, so no issues.

Perhaps you have some lens issues?

Claire
 
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