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

cinemasteve87 said:
Yesterday I tried to put this on the DJI Ronin and it was nearly impossible. Even with a pancake lens, the handle disassembled, and a BP-U30 battery, it was really hard to get this camera to balance on the gimbal without it's long body dropping forward, back, or side to side. Anyone else who achieves this is an absolute winner in my book!
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Look at FS700, how they did it: https://www.facebook.com/CamLStudio...8584176409/837744162914178/?type=1&permPage=1
It might be similar with Fs7.
 
I posted this on a Facebook group on Saturday.

After using the FS7 for about 1hr today I have to say I am thoroughly impressed by this camera. It simply works and works very well for me. There are more image controls over PP then I can even imagine and grasp.

I ordered 3 64GB N XQD cards figuring I'd shoot in XAVC-L 99% of the time. After learning Vegas Pro 13 will not accept these files I have to use Intra. That leaves me with 4K 24P Intra only and HD 24P and 30P and upto 48P Intra mode for slow-motion. It's ok as I want 48P for my slow-motion videos anyways. I shot quite a few clips of my friend at the lake.

The first few shots were Kelvin Balanced and had a magenta tint. The other clips were WB. The WB on this camera works sooooo much better then the FS700. I'm able to nail WB without a problem where as I was left using Kelvin or preset mode on the FS700. The Histogram magically appeared on my camera last night after switching to S&Q in HD. It's on now and I hope it stays on.

My only gripe besides not being able to edit XAVC-L in Vegas is the camcorder will not accept 3rd party batteries. I have read the newer Swits will work but all other batteries do not. Very happy with the camera and in the end I'll make it work for my other jobs.
 
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I had planned to go with two 64GB cards but really the 128GB G cards are just as cheap per GB so I returned my 64 and got two 128GB instead. Upside is I don't the need the Sony MR80 reader and I'll offload material faster.
 
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Typically, mine turned up, connected it all together, powered it all up, still good, I then get tons of phone calls about urgent edits so I had to put my new baby down for a few hours! :-(

Just had a chance for a quick play. I love it. Really love the grip, positioning it in different ways to suit various handheld styles, love it. In fact all of the ergonomics are very good.

Accessing the menus could do with more responsiveness, seems a little sluggish.

Here's a question (I might have missed the answer), does anyone know why none of my clips will work in Catalyst Browser? It shows the metadata but says; "The media item is unsupported or contains missing files". Tried it with different XAVC-I recordings on two different XQD cards with the same results.
Thing is, it goes into Premiere Pro CC fine. Weird one.

Right, I'm going back and having a further play!
 
Over the weekend I was able to knock out two Doritos spec commercials and I have to say that this is one of the best cameras I've ever used. I love the image coming out of it and people who say you can't get a cinematic image out of this are simply moronic. Just don't use native electronic E-mount lenses, that will make your video look more like TV/corporate if you want that look. Being able to utilize S-Log3 in Davinci Resolve and Roundtripping to FCPX was a really fun and enjoyable process. Editing XAVC-I .MOV wrapped files on my Macbook Pro Retina (1st Gen) was a breeze. In fact, it felt easier to play back, grade, and edit than any Black Magic footage I've dealt with. Skin tones are great, but it takes a bit of time to master with this camera since I was still getting used to the white balancing and kelvin adjustments. I really really love how this camera handles and it just felt like I didn't have to worry about the image being bad while emphasizing on content.

I hope to be able to share these Doritos specs soon because I am really in love with the image. The producers I was working with were comparing the FS7 to the RED Scarlets and Black Magic Production 4k and were blown away by how much better the FS7 looked. I would have to agree!
 
Did not see footage posted, but can't wait to see something less Sony from this camera. =D Every other video posted leaves more than a lot to be desired as far as IQ/look goes, but functionality looks really great.
 
Has anyone with the FS7 cracked the case of using the LUT for VF monitoring only and not having it baked in?

And have they actually taken the footage off the cards via computer to verify if the image is pure slog3, or in fact has LUT baked in?
 
Kholi said:
Did not see footage posted, but can't wait to see something less Sony from this camera. =D Every other video posted leaves more than a lot to be desired as far as IQ/look goes, but functionality looks really great.
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To me, the whole Sony look thing is in the past and is now just a myth perpetuated by people who don't use the cameras. S-Log is super neutral and really lacks a distinctive look (like Canon, Alexa, BMC, etc..). The look is what you make it in post, which is what I like and prefer. I've had great images out of S-Log this past year. Pretty much every studio and network project I've shot for, everyone was thrilled with the footage as they can make their own look from S-Log.

Nobody has ever mentioned "Sony look."
 
Wow, that's a surprise.. great find. I can't believe they will add ProRes 4444... I just wish it was available in 2K or 4K. But still good news nonethless.

I'm sure the FS7 will get it too, seems like its getting all its DNA from F5/F55 lately...
 
lasikdenver said:
Interesting bit on the Sony site: The F5/55 board will do 4444 12 bit in the future (summer 2015). I wonder if this will also come to the FS7?

http://www.sony.co.uk/pro/product/CBK-55PD/

ProRes 4444 support for PMW-F55 and PMW-F5

Supports ProRes 4444 12-bit Full HD at 23.98P, 24P, 25P and 29.97P.
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This was all listed with the orginal ProRes specs that were released alongside the v5 firmware features. However 12-bit ProRes4444 and ProResHQ 50p/60p won't be available until a firmware upgrade down the road. So I know I won't be getting the upgrade until those formats are made available.

Having 12-bit, 4:4:4 and the simplicity of ProRes will certainly make life easier though. I'm looking forward to it.
 
gene_can_sing said:
To me, the whole Sony look thing is in the past and is now just a myth perpetuated by people who don't use the cameras. S-Log is super neutral and really lacks a distinctive look (like Canon, Alexa, BMC, etc..). The look is what you make it in post, which is what I like and prefer. I've had great images out of S-Log this past year. Pretty much every studio and network project I've shot for, everyone was thrilled with the footage as they can make their own look from S-Log.

Nobody has ever mentioned "Sony look."
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As someone who now shoots almost exclusively with an FS7Q and F35 and an A7S (clearly owning the whole sony thing) coming from Blackmagics and Reds I 100% disagree. There is totally a Sony look and honestly one that I hear people reference more often than anything else besides maybe a "Red look."

I don't mind it, but it definitely exists and the way that Sony's render colors is definitely unique to their product line and almost consistent throughout it.

That being said - except for one clip the other day and Jason wingrove's clip from way back I have yet to be amazed by any footage from this camera... I'm sure I will be and it just hasn't happened yet. I honestly can't wait for it because like Kholi said, on paper it's amazing.
 
skatajkid said:
As someone who now shoots almost exclusively with an FS7Q and F35 and an A7S (clearly owning the whole sony thing) coming from Blackmagics and Reds I 100% disagree. There is totally a Sony look and honestly one that I hear people reference more often than anything else besides maybe a "Red look."

I don't mind it, but it definitely exists and the way that Sony's render colors is definitely unique to their product line and almost consistent throughout it.

That being said - except for one clip the other day and Jason wingrove's clip from way back I have yet to be amazed by any footage from this camera... I'm sure I will be and it just hasn't happened yet. I honestly can't wait for it because like Kholi said, on paper it's amazing.
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If you've had three Sonys, you probably already know what the FS7 is going to look like. It's no different than the others, or I wouldn't image that it would be.

To me, S-Log is just pretty neutral, almost clinical and that's why I like it for grading. It has less of a baked in look than some of the other companies and for some that's a plus, for others a minus.
 
For people who already own an FS7. Is the rod clamp on the side of the viewfinder rotatable? Can you change the angle of the viewfinder without moving the rods?
 
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