FS7: New Sony F7 XDCAM 4K Super 35mm Camcorder

Well, I sure think Sony's choice of lens mount says a lot about what market segment they think their camera fits into.
E-mount(alpha): RnG shooters
PL: Film (tripod mounted)
FZ: Film
EOS: either way, altho, the non-automatic aperture/focus/stabilization implies tripod use rather than RnG
But, this is just my opinion, so, feel free to disagree.
 
Thanks Ned,
Is this the same mnt as the FS700?
Is there no e mnt speed booster for the same reason there isn't an FZ speed booster- no room or they just haven't bothered to make one? That would be a shame if its not possible
I was hoping for a free lunch and am not not too interested in F4 lenses
 
I'd love to have an EOS->FZ speedbooster! My bet is that there isn't enough of a market for Metabones to design one. It would need different optics than the Emount, because the flange distance is different.
 
The accessory back is necessary for the FS7 to output RAW. With that the Odyssey7Q will plug in and the FS700 record option now becomes an FS7 record option. In addition to 4K RAW to 60p and 2K RAW to 240p, the Odyssey7Q is the only way to get 4K ProRes from the FS7.
 
Mitch Gross said:
The accessory back is necessary for the FS7 to output RAW. With that the Odyssey7Q will plug in and the FS700 record option now becomes an FS7 record option. In addition to 4K RAW to 60p and 2K RAW to 240p, the Odyssey7Q is the only way to get 4K ProRes from the FS7.
Click to expand...

In other words, there is no RAW output available from the FS7 without the accessory back? Thanx for clearing that up for me, Mitch.
 
Has there been any mention of monitoring LUTs for the FS7? The only SLOG option the camera has is SLOG3, and although the original SLOG and then SLOG2 weren't too bad for monitoring (they had reasonable black levels), SLOG3 is almost useless for monitoring since the curve is so flat and the shadows are so high you can't readily judge contrast in your frame.

Personally I kinda hope it doesn't, it's an important differentiator between the higher-end F5(5) cameras and this new undercutter.
 
Don't worry Mark, its only a firmware update or two away.

What I like is how $ony can turn a blind eye by excusing the entire fiascle by saying the two camera divisions are entirely separate and "don't communicate" to one another.

I call bollocks on that one. (is that the right British term by the way?)
 
Using a PL adapter on an E mount is not a professional solution. The E mount is too weak and was never designed to support PL cinema lenses. You can support it on rod bridge adapters but tolerances are problematic. FZ to PL sold with the F3 and F5 are much stronger built in designs. So there's still a need for the F5 / F55 for pros who use PL, but these will be more rental solutions than owner / operator cameras. I'm sold on the FS7! The strengths of the E mount:
-Adaptability for a huge range of legacy and current Canon / Nikon / Minolta glass.
-Speedbooster ultra! Full frame / Vistavision look which you can't do with the FZ mount F5 / F55 / F3 bodies. When you're fighting everyone in narratives / music videos for a more distinctive look, this may help.

It's horses for courses, but I will probably go with the FS7 come January. If it's the F5's senssor, I think it's better than the RED Epic's sensor because of the sensitivity alone and matches the DR.
 
starcentral said:
Don't worry Mark, its only a firmware update or two away.

What I like is how $ony can turn a blind eye by excusing the entire fiascle by saying the two camera divisions are entirely separate and "don't communicate" to one another.

I call bollocks on that one. (is that the right British term by the way?)
Click to expand...

Yeah, kind of strange. Sony announces this doesn't replace the FS700 or F5. Kind of seems like it does to me.
They sure are offering a lot of overlap at the very least. I guess the good thing is, you know Sony will
keep trying to come out with new and better cameras instead of resting on their laurels Bad thing, is that
once you buy one of their cameras, you are 6 months to a year away from being 'replaced'. Oh well, such is
the way of technology.
 
I wouldn't mind if they kept coming out with new cameras as long as they would continue basic support for the old "2 year old ones" Not providing sLog 2 or 3 for the F3 is a classsic example. They will do that again and again I'm afrai
 
Yes. There are LUTs. I suppose I was not sufficiently clear that the accessory back is needed for raw output. Mitch said it more coherently. Pricing is higher than I thought it would be since per my Abel rep, the $9599 for body only and $12995 with lens are street prices

Ned
 
Will it load LUTs? The F3 loaded 1D LUTs, not sure if the FS700 loads 'em, but I forsee the FS7 loading 3D LUT's if not now than possibly later given Sony's new "jack in the box" camera marketing ploys.
 
if you use the fs7 with the o7q - you can view it with a lut - or i assume it will go this way.
or you can use the AJA lut box to monitor it.

this definitely spells the end for the f5 and maybe cuts hard into the f55 market.
but at the same time it ends the dominance of the c300 with better dynamic range and better codec and ability to record to pro res internally.

this is what you would call a disruptor. but this time, it's by one of the big boys, not a new guy.

Man has the world of digital cinema gotten rather intense the past 10 years. Remember when the disruptor was the dvx100?
 
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