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

Well - kind of real to how he is!

Here is a thing - I dont think Ive published too often,

F5 vs FS100 at 1080.

The image that made me not buy the F5 (even though it is better)

My conclusion was a client would probably never see a difference - so the purchase of F5 was purely for ergonomics, which are not perfect, and therefore I moved on.

1080 from the FS7 will probably be similar, so it must win the ergonomic battle or you must have 4k clients (IMO)

F5 vs FS100 - is there a $12k difference?
https://dl.dropboxusercontent.com/u/33167160/ouch.jpg
 
Look for most guys shooting an interview or corporate videos I don't think there is a $12k difference.

If you care about getting the smoothest highlights and non-videoy image and something more along the idea or look of film then the difference in price is worth it IMO.
 
Great looking F5 flick!

When I had my FS100 and shot some gigs with it and the others with my F3 my conclusion was that in many situations the FS100 looked just as good. Not the same but it could be made to look more or less like the F3. On the other hand in an equal amount of situations the F3 was superior. I could always make the F3 with slog to look good but some shots on the FS100 just didn't cut it.
 
Yes, good looking F5 flick. Lighting, composition, production design and good looking talent! Those three elements will make your images stand out now, not the camera! But having the latitude of the F5 makes the job that much easier.

I shot with the FS100 around the same time I was shooting with the F35. I really like the convenience of the FS100 but the F35 was waaay sharper. FS100 looked soft in comparison, but it's just that the F35 and the Ultra Primes I was using were so sharp.
 
WIth F5/red/700+o7q/BMC4k/FS7-back/F3-444/F35/Probably even GH4 +lights/time/talent/art/crew I think one can make a great movie.

To me that has never been in question.
 
morgan_moore said:
WIth F5/red/700+o7q/BMC4k/FS7-back/F3-444/F35/Probably even GH4 +lights/time/talent/art/crew I think one can make a great movie.

To me that has never been in question.
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Amen, these are amazing times aren't they?!?!? The thought that for less than 10K you can get an FS700+O7Q and with the right team and resources shoot a a great feature film is mind boggling. I didn't plan to get a FS700 but with the current pricing I see one in my future.
 
I asked this already and no one responded but I thought that there was a rumor that even though the FS7 has the sensor from the 5 that it might have the color gamut filters of the 55 which Sony made such a big deal about. I have an F3 and shoot 442 into a Samurai and have been very happy with the image but not the ergonomics or weight. To me, the FS7 seems like a good replacement to the F3 overall. The re-sale value is so low on the F3 that I will probably just keep it for backup, 2 camera shoots, etc. In stills I also use the Nikon D3 series and kept that when I acquired a D4. It is handy to have both. Also, the big pixels of the D3 series sometimes seem like they give a nicer although lower resolution image than the D4 in spite of the technology advancements. I have yet to see real proof that the F5/F55 really produce better images overall than the F3 and I suspect if I used the 444 output from the F3 the differences would be even less. The only place I notice the lower resolution in the F3 is in wide shots with loss of detail in small things/people which is where 4k might make a difference. Since most of my content is for the web, I don't think that from an image standpoint there would be much to gain, but the benefits of getting the camera off the tripod are significant. Over the last year I have been investing in sound and to a lesser extent lighting, I think these make a big difference. Disclaimer: I do not make a living off of video production.
 
Your thoughts/situations are almost identical to mine! I have an F3 and am floored by how low it's going for now on ebay. I also had a D3s and found I liked it in many ways more than higher resolution full frames.

Anyway, I am also curious about F5/F55 vs F3 color gamut.
 
Doctor Wu said:
"Man From Reno", an indie feature film was shot on the F5 and it can look great. I caught it at the LA Film Festival. I believe the F5 can get just as good images as the RED Epic, just different. It's also more light sensitive than the Epic. If the FS7 can come very close to the F5's performance, I'll be happy.

http://vimeo.com/70312684
http://youtu.be/knVDy4pLJwQ
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I must be a picky bastard, but I skimmed through and the only frames I liked were 0:29 and 0:55. Everything else was videoy and/or milky.
 
I'm mostly referring to the color and/or contrast of certain images. Some segments look really really good and of course the composition, framing, art direction, etc.. look valuable.

And no, I can't do any better myself.
 
Maybe a little too sterile, too perfect. I think what renders the Alexa, epic even cameras like f35 filmic is the cadence. Sometimes too sharp hurts when you're doing narrative, for commercial or broadcast its whole other ball game, sharp is good. Speaking of which, Monday night watching the Eagles play the colts I saw some f55's. I immediately thought, this is why they made this camera. It's perfect for broadcast sports, reality tv, major network news etc, I then thought for narrative work maybe its a little too sterile. Having 16 bit available I'm sure you can make the footage look any way you want but for me DR, shadows/highlights is always more important than resolution.
 
Ah no worries. It ain't mine. We're all entitled to be discriminating. It looks good for an indie feature IMO and I have to admire the director for cranking so many of these out. Don't know where some people get the energy and money to do so many indie features.

starcentral said:
I'm mostly referring to the color and/or contrast of certain images. Some segments look really really good and of course the composition, framing, art direction, etc.. look valuable.

And no, I can't do any better myself.
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As for size F3 vs FS7 I made this to get an idea of the difference.

View attachment 91447

Sony have a bottom plate to mount rods onto the FS7 and by the looks of it the lens mount on the FS7 is to high to end up at 85mm lens to rod distance as is the standard. Maybe the Sony bottom plate/rods adapter involves a modification of the bottom of the FS7?
 
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Everyone's assuming good ergonomics with this camera. I think it remains to be seen how well this camera will actually work sitting on the shoulder. It looks a bit cramped to me. And for sure its too lightweight to be balanced with many lenses, so that little arm extension won't do squat to counter that scenario with a front heavy camera. That means adding rods off the back, and weight - perhaps in the form of a large brick battery. But wait, will it accept rods? Not without some Zacuto-esque after market add-on.
 
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