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

Just wanted to say once I changed the Camera into S&Q in HD the histogram magically appeared. Overall fairly happy and going to shoot with it in a little while. Too bad it's very cloudy out here. Also if anyone is using Sony Vegas Pro the program can't recognize XAVC-L codec. I get pixelated footage both in 4k and HD. XAVC-I works perfectly.
 
Erik Wittbusch said:
THX Liam.

Sad for the Metabones problems.
Did you use the Speedbooster or Smart Adapter?
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It's the new Speedbooster Ultra.

Erik Wittbusch said:
@Liam: Did you use the new Swits without the DC-in of the FS7?
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No. The batts I was sent didn't work, it turned out they weren't even Swits. I phoned my local dealer (who is also the dealer for Swits) he said they had tested both the new models and they worked perfectly on the FS7 with no need for the DC tap. Annoyingly, they didn't have any in stock so I had to stump up for the Sony's as I'm off an a job this weekend.
 
How does the speed booster ultra look ?
Any corner softness , distortion , or CA?
Is the fit extremely tight for canon glass ?

How fine are the iris increments in the Canon Glass ?
also wondering if anyone has tried the Sigma 24-105 f4 instead of Canon .
Supposed to be sharper , consistent iris through the Zoom , but not parfocal and perhaps more CA .
 
Babu said:
Just wanted to say once I changed the Camera into S&Q in HD the histogram magically appeared. Overall fairly happy and going to shoot with it in a little while. Too bad it's very cloudy out here. Also if anyone is using Sony Vegas Pro the program can't recognize XAVC-L codec. I get pixelated footage both in 4k and HD. XAVC-I works perfectly.
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My workaround is to shift camera into 1080 23.98, then turn it on. It should show up. Then switch back to 4K and it'll stay.
 
Liam Hall said:
I agree 100% with all of the above.

I'll also add, beware using Swit DSM U-84.

And I'll also add, the grip handle is passable, and will no doubt be a useful accessory, but I can see it staying in the bag more than being attached to the camera.

Finally, the Metabones Ultra is superb. Very well built. Can't see myself taking it off!
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There is indeed an internal mic. My camera didn't come with the port covers or the post for sensor plane :(
 
Lenilenapi said:
How does the speed booster ultra look ?
Any corner softness , distortion , or CA?
Is the fit extremely tight for canon glass ?

How fine are the iris increments in the Canon Glass ?
also wondering if anyone has tried the Sigma 24-105 f4 instead of Canon .
Supposed to be sharper , consistent iris through the Zoom , but not parfocal and perhaps more CA .
Click to expand...

After my initial delight with the Speed Booster Ultra I'm sorry to report it simply not fit for purpose. If you've got the cine primes or the Samyangs you're fine. A few of the zooms work OKish, but the L series primes are a total fail. If I were Metabones I'd be embarrassed. Yes it's solid, yes optically it is excellent, but if you can't change the aperture and the lenses simply default to wide open then that is pretty much just a paperweight. To me this is unacceptable and extremely unprofessional of both Sony and Metabones to peddle a product that doesn't do what they say it will.
 
Liam Hall said:
After my initial delight with the Speed Booster Ultra I'm sorry to report it simply not fit for purpose. If you've got the cine primes or the Samyangs you're fine. A few of the zooms work OKish, but the L series primes are a total fail. If I were Metabones I'd be embarrassed. Yes it's solid, yes optically it is excellent, but if you can't change the aperture and the lenses simply default to wide open then that is pretty much just a paperweight. To me this is unacceptable and extremely unprofessional of both Sony and Metabones to peddle a product that doesn't do what they say it will.
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Sorry to hear that Liam,hopefully they will fix it ASAP.

Anybody using nikon glass with the ultra?
 
Sorry Liam . In my own case I was interested in the zooms especially the. 105-24 and the 70-200 . Don't own canon primes and was considering going Rockinon anyway .
So my main concern was optics .
Did you get the standard metabones also ? I was going to do that as well to get 2 Lenses in one . Unlikely the mechanics would work in that if they didn't in the ultra though
you can't use your primes at all on the camera at this point ?

damn - at this point I'm kinda glad I didn't get the 1st shipment so you guys can work out the gotchas first !
 
Liam Hall said:
You can load in whatever custom LUTs you like.
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So does this mean that 3D LUTs can be generated to match old film stocks and looks from other digital cameras (Alexa, Canon 300, etc...)? And they can be recorded / baked into the image correct?

And the LUTs are not just for monitoring purposes?
 
gene_can_sing said:
So does this mean that 3D LUTs can be generated to match old film stocks and looks from other digital cameras (Alexa, Canon 300, etc...)? And they can be recorded / baked into the image correct?
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Yes.

gene_can_sing said:
And the LUTs are not just for monitoring purposes?
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LUTs are for many things, mainly for "monitoring" but they are also used as excellent starting point in post for grading. But creatively you can also decide to bake them in the footage in event you need to turn footage around quickly.

Some of us with F5/55 really like baking in the Alexa-clone LUT called LC709-TypeA for quick stuff.

You can download these from Sony's forum, or for convenience I have placed them on one of my sites : http://www.starcentral.ca/forums/LUTs

Also some info and caveats of using LUTS enabled and gauging exposure are available in my guide: www.cinetiny.com/exposeguide
 
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I've wondered whether you could take your favorite LUT and make slight adjustments in it say to warm it a bit or even add some magenta for Fluorescents to make a few pre- color corrected LUT's for Bake-IN purposes. A little crude as I would prefer that Sony allow you to make corrections within the CINE-EI mode.
I don't see why Sony doesn't allow that. Maybe there's a technical reason but it seems like they've always had some notion that you have to make these cameras behave like film to make us DP's happy. I'm happy when I have control. You can set Kelvin, white balance and set magenta/green offsets in the RED LUT and that's part of what makes it such a functional camera.

Not experienced with the ALEXA on that.
 
Vik Kamenicky said:
Sorry to hear that Liam,hopefully they will fix it ASAP.

Anybody using nikon glass with the ultra?
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I's annoying, as I was debating renting the cinema primes for this job, but went with the stills versions as I have to shoot stills also. At least all my zooms work so all is not lost.
 
starcentral said:
Yes.



LUTs are for many things, mainly for "monitoring" but they are also used as excellent starting point in post for grading. But creatively you can also decide to bake them in the footage in event you need to turn footage around quickly.

Some of us with F5/55 really like baking in the Alexa-clone LUT called LC709-TypeA for quick stuff.

You can download these from Sony's forum, or for convenience I have placed them on one of my sites : http://www.starcentral.ca/forums/LUTs

Also some info and caveats of using LUTS enabled and gauging exposure are available in my guide: www.cinetiny.com/exposeguide
Click to expand...

Awesome, thanks for that!
 
Lenilenapi said:
I've wondered whether you could take your favorite LUT and make slight adjustments in it say to warm it a bit or even add some magenta for Fluorescents to make a few pre- color corrected LUT's for Bake-IN purposes.
Click to expand...

Yes, you can load your own user 3D LUTS.
 
Can't wait to see some footage from yous guys.

If anyone's got one in Los Angeles and wants to run one next to my URSA I'd be happy to spend a few hours getting to know the FS7!
 
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