FS7: New FS7 little brother?

Nirv said:
A7s proved to me pretty conclusively that 8 bit SLog doesn't work. [QUOTE/]

I don't know why the A7s colours look that off, sensor level, processing, Codec, S-Log, but all the other Sonys look very good (FS100, F3 (even 8bit Slog colours look brilliant), Fs7, FS700, F5, F55, F65, they all look great in terms of colour, even the A6000, RX10 II, Just the A7s there's something wrong the colours that gives it an immediate distinct look for some reason on almost 95% of the videos shot on it. I'd never buy an FS1 with the same sensor and colour science and RS, FS7 sensor and and colours, hell yeah!
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Just because a new camera comes out it doesn't suddenly stop your FS7/F5 from making images or from being rentable etc...

The only thing that would piss me off is not fixing the bugs in the FS7 and instead moving all dev teams to a new camera.

In terms of what is killing off what, in the professional arena I don't really think anybody takes Blackmagic cameras seriously yet. They are what, 6-7 cameras in and haven't made one that works properly or that doesn't have a some crucial design flaw yet.

There will always be a place on production for C100s and C300s. Fairly idiot-proof with a good enough image and the UI of an oversized DSLR.

A small modular Sony FS model perfect for gimbals and the like would probably do really well, but I suspect this camera is going to be aimed at more of an EX1/Webcast crowd.
 
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corycross said:
go up in iso regardless of being in cine ei mode that is always stuck at iso 2000....
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morgan_moore said:
You need to check out Slog Custom - it makes the FS7 good to 8000 ISO while still having all the lovely flex in post and none of the sony 'look'.

To consider the FS7 as a ISO limited camera is just user error.

S
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It seems that 90% of FS7 users completely misunderstands CineEI mode. Because of their mistake FS7 gets bad repo by being called "noisy" or "limited" (2000 base iso). Those ones should avoid it and use Custom instead. But once you grasp the idea it's extremely hard to go back :)
There's a mistake on Sony side as well, not at least briefly explaining it in some leaflet or pdf file.
 
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Ebrahim Saadawi said:
I would worry about that with a company like Blackmagic but not the HUGE Sony.
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To be fair it's exactly opposite. BM updates firmware even in their first cameras while Sony drops some of them after a short period of time (ie. A7S - only one minor update).
Sony with their firmware updates is unpredictable and depends on a particular camera. Hopefully FS7 will be updated camera for a longer period of time.
 
Ben Scott said:
The only thing that would piss me off is not fixing the bugs in the FS7 and instead moving all dev teams to a new camera.
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If the FSx is based on the same platform as the FS7 it could be a benefit for us too i.e. the FSx will have a subset of the same firmware which will mean development will continue on our firmware. Maybe the Firmware 3 October release for the FS7 will coincide with the release of the new FSx?
 
Sony has yet to finish the FDR-AX1 and have discontinued it already. There is still a USB interface on my FDR-AX1 that does not work. Last firmware was for AVCHD which I could not understand at all when XAVC-S is so much better. I will look at this new camera as an upgrade from my FDR-AX1 though.
 
alohype said:
It seems that 90% of FS7 users completely misunderstands CineEI mode.
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It's my feeling that another additional 40% (maybe 60%?) of RED owners also don't quite get it (RED cameras don't have gain)—so they are in good company.

Does Sony call the rating ISO in CineEI? Maybe they should have simply called the setting 'Exposure Index'?
 
AndreeOnline said:
It's my feeling that another additional 40% (maybe 60%?) of RED owners also don't quite get it (RED cameras don't have gain)—so they are in good company.

Does Sony call the rating ISO in CineEI? Maybe they should have simply called the setting 'Exposure Index'?
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That's what they do but people still don't get it. Well actually I think people don't understand gain properly- that it's done by a trade of dynamic range, there are no extra photosites to read from at higher iso (unless we talk about varicam), everything is calculated from base.
For me it's actually a good thing- it means that you still need skills/knowledge to get beautiful results from FS7.
 
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Ben Scott said:
All the non drone stuff in here is A7s material. I think it holds up very well.
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Most of it looks weird really - neither an indy film look or a full sat nat geo look.

Ive not really followed the A7s because I have a feeling about cameras.. above £1000 they are no longer disposable toys but professional tools and therefore need SDi. I wont buy any camera over £1000 that does not have SDi and 10bit.

I can forgive the 550d (60d? - the cheap canon with the great AF?) and goPro as toys that might be useful for work.. but cameras at a higher pricepoint are out unless they actually help the operator do their job in a professional environment.

Same with 'camcorders'.. my minimum spec is non flybywire focus or less than £1000.

Im tired of being bent over!

Black Magic for example I think are pretty honest - they try to put out the best product they can - yep they mess up, and only have a small and dated parts bin, but at least they try to do the best with the resources they have.

S
 
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Meh, that's just subjective personal taste about the grade. Clearly the image quality is good enough for use on a major doc series. Like it or not - at that level a form factor HDMI has become ubiquitous and the A7s is in no way a toy for video OR stills.
 
Well (and this was a thing I clearly saw on the Beeb doc) I can see a need for two grades.. (which is why we need to focus in on ACES) simply for TV monitors and SRGb computer monitors - so on that basis Im feeling that Imight be watching broadcast grade on my SRGb monitor - so maybe a harsh critique therefore.

I still think it is PB with a wash of magic bullet dialled back a bit.

HDMI? Toy? I dunno - mainly Im feeding a director so mini HDMI lasts about a week.

Pro stills? I don't know anyone who shoots pro stills with a mirrorless (as an A body) - in fact I dont know anyone who uses Sony at all for pro stills.

S
 
Not sure what I'm meant to be looking at. Is one of those images yours?

I much prefer my A7 to my old 5D mk3/6D/60D for stills.

The only reason I would consider a 5Ds is for timelapse, as the A7s is only 12MP although the A7rII address that limitation.
 
Yep the first one - not mine but 'my'/our agency - we have Canon 1dx ( I think thats what its called) - a proper 'pro' stills camera - all of the snappers I know have 1dx or D4.. and really don't care about MP.

Im sorry I just dont see where an A7 fits in to stills or motion.. but that is just me I guess :)

BTW - that doesn't make it specifically bad - im sure video wise it is no more crippled than most stills cameras, possibly less - I have a Gh4/yag basically it is the connectivity king at 2/3 of the price. Good image? not really - I had hopes of the 1080/10bit to my shuttle but the '4k' is simpler and sharper if less gradable.

S
 
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